Embroidered Photographs Inspired by Victoria Villasana

1. Introduction: The Hi. I'm Elisabeth and welcome to my artist inspired series class about Victoria Villasana. I am a professional artist and art educator. I work with college students these days who are just beginning their art education journey in their senior year as they're getting out into classrooms, getting experiences with students and really starting to develop their own identity as the art teacher that they are growing into. But I also teach classes here on Skillshare, which I have been doing since 2021. I began creating a lot of different technique classes and sharing my art processes with you. Then I started leaning into my passion for artists and art making and art history. Doing the artist inspired series classes. Victoria is an amazing artist that embroidery back into vintage photographs and different collaborative projects that she's working on with different photographers. She is working very large scale usually, but she's also a street artist and collaborates with other street artists. Her textile pieces where she is sewing into images that actually began as something fun to do on the side and she would put up her street art, these embroidered images all over London, which is where she has spent most of her life. She's got large scale ones where she's filling an entire wall. She's got tiny ones that she's putting on a small part of a building or on a bench. I love the fact that she is incorporating embroidery into street art. But as Victoria has gotten more well known and famous, her pieces have become placed on canvases and then they get mounted in galleries, still collaborating with other artists. She does a wonderful play of color, a lot of different things with texture and pattern and the ways that she layers on these embroidered elements to these photographs. We are going to be using a resource over on the Projects and Resources section where you can access vintage photographs that are royalty free that you can print off and embroidery into yourself. We are going to be embroidery into photographs for our class project. Let's head over to our next lesson and talk more about our class project and what you might want to do for your imagery and get a little bit of taste of Victoria's work and how we can get inspired by that in our own art making. I'll see you there. 2. Class Project: For our class project in our Victoria Villasana inspired art class, we are going to be using vintage photos that I provide for you on the projects and resources section of class, but you're welcome to use your own, printing those off on cardstock or mixed media paper, watercolor paper, whatever thicker paper you have on hand. Then I'm going to show you a couple of very simple sewing techniques that we can use to embroidery back into. You're going to get to decide the skill you want to work. I'm going to be working four by six. I'm going to work small. We are a little bit more limited than Victoria is because she's sewing into canvas and there's a lot more give there because it's a woven fabric because of the fiber nature of it, she can do her stitches a lot closer together and we're going to be sewing into paper. We have to be a little more careful in sewing our stitches so we don't rip our paper. But we can still create beautiful mini pieces inspired by Victoria Villasana. If you are excited about sewing into your artwork, I have another class that's about embroidery into paintings that you should definitely check out. Yeah, don't worry. If you are not someone who feels comfortable sewing or you're not quite ready for that step in your art journey, Victoria also draws back into her pieces and a lot of times incorporates both of those things. You could go back into the photos with paint pens, that would be perfect to create some of the bold blocks of color and pattern that would mi the sewing details that we're looking to in Victoria's work. You could also absolutely get inspired by the colors that she's using, the patterns that she's creating, the play of line, all the different ways that she is working into her pieces without literally sewing into your work. Let's head over to our next lesson and we'll talk some more about the materials you're going to want to have on hand for class. I'll see you there. 3. Materials: These are the art supplies that I'm going to be using to demonstrate Victoria Villasana inspired art project. We're going to be working back into vintage photos, just like Victoria does. These are ones that I found royalty free. I've included several that I think will be really great resources for you to play with. I printed these out on cardstock paper. I would do something kind of thicker. So copy paper isn't really going to work for this project, but if you could print it out on cardstock or cut down mixed media or watercolor paper, that would work great. Any kind of thicker paper that you have, probably even photo paper would be fine, too. You would just then have a sheet. Then we're going to be sewing into our photos. I've got cardboard that's going to be my underneath side so that I can use my push pin and I can push in holes where I want to have my stitches go. Embroidery floss is what I love to use for sewing back into paintings and photos. I've got a variety of colors that I might want to play with. I've got my embroidery needles or craft needles, something with a larger eye is what you're going to want so that you can feed the embroidery floss through. Then a pair of scissors for cutting your thread as needed. Victoria also draws into her pieces. So you can skip the sewing altogether and just draw and add pattern and color to the vintage photos that way, or you can do both, a combination of sewing and drawing to add different elements. Let's head it over to the next lesson, and we will learn more about Victoria's life and art. I'll see you there. 4. About Victoria Villasana: Victoria Villasana is a Mexican textile artist who is still working today. She was born in Guadalajara, Mexico, and as a child, she would paint and make dresses for her dolls. So she is one of those artists that was an artist from a very early age, and that interest in textiles is definitely something that has woven its way through her entire art journey and is something that she's continuing to explore now in the art that she's making currently. She did begin working as a florist and in fashion design as a stylist, and you can definitely see the play of both of those in a lot of the works that she has created. She's been living in London for most of her life, so she's exposed to a lot of different cultures there. And she began making embroidered collages with pictures as a hobby, and that has actually grown into her professional art practice. She is sewing back into vintage photos and her own artwork and drawing back into it and really making these beautiful pieces. So let's send it over to our next lesson to begin talking about some of the ways we might want to be stitching back into our images to create work inspired by Victoria Villasana. I'll see you there. 5. Types of Stitches: So there's some basic embroidery stitches that we can play with that work very well for this technique. So I'm going to get my needle threaded, and then I want to show you a couple basic ones if you're new to sewing and embroidery. I also have a class that is about embroidery back into your paintings, both watercolor and acrylic, where I go a little bit more in depth because for those, we're adding imagery to abstract pieces, usually. The approach is a little bit different than adding abstract details and color pops and lines to an image that already has something going on. Different approach to embellishing your paintings, but you can learn a lot of great stuff from that class, you can apply here and vice versa. The embroidery floss, if that's what you're using, Thread I find is because it's a little bit thinner. It requires more to build up its mass to get the line details, it's also a little bit sharper. If you pull too hard, it can cut your paper a little bit more easily than embroidery floss. Embroidery floss has six threads within here. You can sew it full and then you'll get a nice solid line. You can also break this down. It also depends on how you want to thread your needle too. What I like to do is I like to divide my embroidery floss in half so that I have three and three. And then carefully pull it apart. There might be some untangling that you have to do along the way. It's how it goes when you've got all these threads twisted up together. If you pull it a little bit, sometimes you can just slowly pull it and not have it get caught. But if it gets caught, just want to grab the two ends that you're pulling apart. It's untwist it by running your fingers down it. You can also put your thumb there and pull it down and have your thumb make the divide for you, whatever it takes to get those undone. There are going to be a little twisty and that's okay. I'm going to set my one section of three off to the side. Going to go ahead and get my needle threaded. This is what we want a bigger eye to wear a needle. The bigger the e, the bigger the hole that you're going to be making in your paper. You're doing a practice one first, you're practicing the stitches. If you're finding that the holes are bigger than you want them to be, try to size down your needle. If you want to maintain just this much line weight, I would recommend that you don't knot your thread, that you knot it at the end, or if you want that double line, you can pull the thread down all the way. Then you can double knot the ends. I like a bold line, so I'm going to go ahead and pull my thread down all the way and then double knot it. Now I've got the six strands back of the original embroidery floss. If I didn't divide it and I threaded my needle the same way, then I would end up with 12. That might be a little much for the fact that we're working small and back into paper. I'm just going to knot this a bunch of times because I need my knot bigger than the hole that I'm going to be making with my needle. Let's talk about some practice ditches. There's a couple different ways we can go. But to create our stitches, it's really helpful to use a push pin or an all if you do a lot of handmade bookbinding. Then push pin will help create the hole ahead of time, but there is a narrow initial part to the point and then it gets wider. So if you push really, really far down, you're going to have a very big hole. Not a big deal, but sometimes depending on how much thread goes in there, you can see the holes around your stitching. So if that's something that you don't like where you want to try as your best to not have that happen, try to just push smaller with the push pin. We just need it to start creating our hole so that we don't have to fight the paper as much. And then I've got my cardboard behind my paper so that it can go into the cardboard and not fight against my work surface. So if we just do a couple basic dots in a row, we can create a basic running stitch. This one I would always go in from the back and then because I double knotted it, I can just pull it all the way out. Then I'm going to throw back through the second hole, and now I have the start of a stitch. Then I want to make sure I keep it tight enough so that it's going to hold my stitch, but not so tight that it's going to pull the paper. This is something you have to get used to. Now, I can jump ahead to this hole and go back through, and now I've skipped the line and then I could keep going and I could leave that skip or I could sew back into my second hole. Then now I'm creating a continuous line that way. Then I would just keep going. I'd go back through my third hole and out into my fourth hole. Be careful that doesn't get caught on the edges of my paper. Then here I could jump ahead to my fifth hole, and go back to my fourth hole. That would just create a more controlled line. Every so often, it's important to knot off your thread. We're not necessarily going to be starting snipping it and getting a new one yet. This just kind of helps hold your stitches in place. So a couple quick knots on the back side will help ensure that your stitching doesn't get away from you. So we have a mini stitch to create a line. We can also create a nice long line too. So if we do a hole and then a farther away hole, I'm just going to jump up to the nearest hole where I want to go back through, pull that out, and then I'm going to go all the way across to the other hole. Then because this is a very long single stitch, here I am going to not it off a little sooner than I might otherwise just to help hold that firmly in place. You can leave it as it is, or we can add another little fun detail to it. We can also come back and do this with another color too. So they've got this nice wibbly wobbly line. We can leave that or we can do a stitch across it. So to do a stitch across it, I'm going to go above it and below it. And now I'm going to go back to the backside. I'm going to go in through one. Oh, if this starts rolling away on you, you can just stab it into your cardboard. Usually at an angle, works better. I'm coming back out one of my tiny stitches, and I'm just going to do a teeny little cross stitch. And that's going to hold it in place. I could have done them closer together, but again, we want to be careful that our holes aren't too close together. Now that stitch is going to hold it in place. It does add another line detail. Don't do this if you don't like the look of this. But you can also do it with different colors too to create some nice overlapping line design. This one I'm going to knot off. Then let's talk about a couple other ways we can incorporate stitches into our images. The French knots that I did over here, they're pretty simple. We're just going to make a dot, make one hole. We're going to go up through the back of that one. Then to do your French knot, you're going to hold the length of your thread, your embroidery floss with one hand. You're going to take your needle and you're going to wrap your embroidery floss three or four times around your needle and then it's going to go back through the hole that you made. Now, I find it really, really helpful at this point to put my thumb down over the needle so that as I'm pressing gently down and pulling my thread, it doesn't get away from me. And then it creates this nice little knot. I did them fairly large for these. I think I was wrapping it a couple extra times. I also kind of kept some of them loose. So this one's a pretty tight one. And then these are pretty loose, kind of letting them be a little bit more like flowers. But that can be a nice way to add some dimension to your piece. So we have a running stitch. We got the long stitch with the cross stitch on top of it. We got the French not for that one. Again, it's helpful to do the knot on the back. You don't have to do it after every French knot. Kind of when you're done with a section of French knots, it's a good idea to do them that way. And then another great one to use is just kind of like a cross stitch. We're basically going to make a box. Square with four holes, and then to see if I have enough thread to do it. We're going to go up through one and then we're going to go across to the other. Then on the back side, we're going to go up, in this case, down because of the way I flipped it. Then now we're up on the top corner and then we can go across and create an X or across with our stitch. That's to cross stitch, create a nice little X design. And we can look at Victoria's work, either in the slides presentation or about Victoria Villasana video lesson about different and look at the different ways that she is using thread to create different design elements. She's also using yarn. In a lot of cases, that's another aspect that works because she's sewing back into canvas. She can create thicker lines. She can do a little bit more with hers than we can do. But these are just kind of some basic stitches. Basically, any way that you put lines into your image, though and you connect them with thread, you're going to be creating some really lovely embroidery. Is a piece from the other embroidery class that I have here on seal share that shows you what I was talking about with the really long threads and then using tuck stitches, little mini stitches to hold them in place. You can go around the edge of things. You can go across it. You can vary the line length. I've got the magenta starting at this point and radiating out. Then between those stitches, I went through with the green and I radiated that out. Same idea. These ones I don't have any stitches on them. Some of them agenta longer ones over here, I do. This is that running stitch but not doing the backstitch, leaving the space between them. These are very simple stitches, but they can create a really dynamic effect. Again, if you're doing it into a painting, you have a little bit more play because what you're adding is a much bigger element usually than if you're working back into a photo. So working back into something like these, we're just adding some really interesting elements to take the photo a little bit further. It's the same that I was doing with the paintings. But here, because we're working with representational imagery, imagery of things that we can say, Oh, this is a person, this is a person walking a dog in the city. We can decide how much we embroidered into it, but we are a little bit limited because we're working small. We're adding to the recognizable image. You'll see that in Victoria's work too. Sometimes it's heavily embellished and sometimes it is much more minimally. She also has some pieces where she is embellishing words, too. You could also play with adding some words and text and design elements like that into your piece too. Whether you did that with stitching or the paint pens, either would be great. Let's send it over to our next lesson, and I'm going to start adding in some embroidery into this vintage photo. I'll see you there. 6. Sewing Into Photograph: For my Victoria Villasana inspired work, I've chosen a vintage photograph that is royalty free from the Library of Congress of an image that I like of this woman walking her dog. I played with this one initially, and I really loved working back into this bridal photo that I found on the same website. This one has a lot more intricacy. I used French knots for those of you who might be familiar with that embroidery process and then just kind of some simple stitches there, and I did some criss crossing down here just to add a little bit more design detail. When I did the top initially, I wasn't sure if I was going to do any embroidery down on her dress, and then I decided in the end I just kind of wanted to help bring the color down a bit. So for this one, the difference between what we are doing and what Victoria does is that Victoria is sewing back into canvases and she's working very large. So she's able to do a lot more close stitches and she doesn't have to worry about her canvas breaking. But we're working on paper. Cardstock, yes, it is a little thicker, but it is still paper. So we have to be mindful of how close together we make our puncture holes and how much we sew back in. Which is why it's really great to also lean into the paint markers if you want to if you want to do a little bit more intricate detail in addition to your sewing or instead of sewing into your piece. Right. So now we practice our stitches, we've kind of thought about it a little bit. We have our photo printed. We're ready to go. This one, the figure is so small that I think I want to lean into doing more embroidery in the background, which we can see in some of Victoria's work too. Sometimes she's focusing on the figure, sometimes it's the background, sometimes it's both and kind of tying the two together. In the piece that I did of the scuba diver, I focused mostly on him and kind of got him set. And then I started working on the background. To kind of create some unifying elements in the piece. I love about embroidery, especially back into well, anything, embroidery into anything, whether it's embroidery hoops or into photographs or into paintings, is that I can pick it up and set it down as often as I need to. So I can come and do some stitches and then I can set it aside, and then I can come back to it. So it's a very versatile art medium that way. You can even take it with you on the go. I need to be very mindful of where I put the holes. I think I'm going to lean into the architecture. So I'm going to put some holes along the structures, and then I'm going to stitch into them to create some initial design and play with. You can do this little by little, where you can really go to town mapping it out in advance. I'm going to start stitching in and see how this develops. As you get started, you can decide too, where do you want to begin as far as which holes you put in? I want to get the most out of my thread that I can. I'm trying to get the holes that are closest to each other with the color that I know I want it all to be. So I think for right now, I'm just going to outline the street sign in the background. I almost went all the way up here, but then I would have all that thread on the back side when I wanted on the front. So I'm going to kind of stick to the close together stuff and I'm going to jump down to this first hole that I put in so that I can stitch over and then go up. This can go back down. And then I know it seems a little wild, but I'm going to go back over to the right side of the signpost so that I can go all the way up to the top. I think the reason I like to outline with my thread is because I enjoy doing that with my art. I enjoy adding outline to my watercolor pictures and playing with that bold line that way. This is very different than what I did in my very first piece. This was very soft and very round and clumped together. I'm playing with a linear element that I think I'm going to contrast against some embroidery that I'm going to do on her. Maybe because she's so small, I will do some more with the paint pens, and I'll do a combination of the two. I have a teeny little bit of looseness to my fibers. I didn't pull that stitch as tight as I maybe should have. Sometimes you can when you're tightening up your shoelaces, you can scoot your stitches, but I think it's too far gone for that one. That's okay. Ids a neat element to it. Then I'm going to go back up. I work my way across? Now, at some point, I'm going to get very soon. I'm going to get to a point where I am out us. I'm going to need to add more in. I'm going to need to nod it off and then trim it and then get more. Let's talk about that right now because I don't really have enough to keep going. I don't want to go to that stage, I have to go all the way over to the other side of her head. So that's probably as close as I can cut it to getting the max out of my stitches because I need to have enough thread to be able to tie it off. Then I'm going to go ahead and double knot this as best I can so that my stitches hold. I use my thumb and my nail to hold that knot in place. You can also use tape to hold down some of your more wily threads that don't want to behave as much or you can put a little dot of glue too. My bigger pieces, I'll use tape and just tape that out of the way. I can show you that, get some tape right here. Any kind of tape is fine. I'm just grabbing masking tape because that's what happens to be on hand. But I want to make sure. I'm just going to pull it off to the side for now because I don't think I'm going to stitch further that way. Then my thread is just going to be out of the way. All right. Let's get some more ready and keep going. Sometimes you'll get a knot on the end from pulling it. So you just have to snip it off. It doesn't happen very often, but there is the chance that as you're separating your threads, that will happen. G to go back in through this hole so I can stitch up. And filling in the line details that I want. Remember, at any point in time, you can add knots to kind of secure your stitching. Sometimes your needle is going to fall back out your hole, that's okay. Push it through enough you can also use your back of your finger to catch it or your thumb on the front side. Make sure it doesn't slip back out on you. No, I haven't sewn much, but those are two pretty long lines, so I'm going to do an anchoring knot just to make sure they stay where I want them. I want to go all the way over to the other side. No, which I can totally do. I'm just going to simplify these posts. Because I know I can't stitch together that close over there, and then I'm going to add in line details there and make up some details using what's there and then also adding in some other stuff that what I'm adding makes sense, even if it's not 100% accurate to image. If you get to the point where you do not have enough to make your knot on the back, you can always go unstitchRvers stitch it, go back through show. Sometimes it works sometimes it doesn't it gets caught in divides into what's already there, it's not going to work. I'm going to go ahead and let that one stop there. Then I'll trim it, k and then I'll get some more blue thread and finish stitching this background piece. Then I'll jump to the figure so you can see what I've started to figure out I wanted to do with her. Generally, I don't really trim my threads. I let them stay long. You can see on this one. These are crazy. I should probably cut this one down at the very least so it's not sticking off the side, this one too. I don't mind. I've got a bunch of extra throds hanging out. So what I want to do now, I really want to add some width here. I'm going to do some of those cross stitches and sort of in an exaggerated way mimic what was happening in the picture. I want to be careful that they're not too close together, and I'm just going to start stitching across. I take this basic idea of vertical lines and give it a little bit of extra something. So then I can leave them like that or I can stitch vertically between these. Let's see what that would look like. It's where you can start to see which of your strings are Boeing. This one's Boeing, and that's not a big deal. But if it bothers you, then you can absolutely add just a little stitch to hold it in place. I will also say the more times you run your needle through a hole, the odds are it's getting a little bit bigger, and then you've got a whole lot of thread on there. So just be mindful of how much stitching back in you do because I have had things accidentally tear when I've been embroidery into paper. The radial lines are that's a tricky part about doing those they show you that other piece because you're going back to the center hole so much. It's not impossible. You just have to be careful. All right. Jump over into it on the other side. Now, the other thing you could do with this piece, you could do the paint marker details first if you wanted to add even more and then sew into that. And then that would give you I could have done that here, and then I would have something a different color other than the printed image. Behind these stitches, I can still go back in here with paint markers, but I could get the marker on my stitching. I'm not too worried about it. If that was something you wanted to do to have that control as well as play with the embroidery, be a really great idea. I kind of like these being different, so I'm going to leave it there. I have that stitch over here that I need to resolve, so I'm going to go ahead and jump over and finish that up, and then I think I'll be done with the blue in the background for now at least. So one more little stitch. Not it off, and then I'm going to switch colors. When it's the last stitch, I like to really make sure it's not going to pop back through the hole. So to give it a couple extra knots. 7. Sewing Into Photograph Continued: And I'm going to sew in her hat. It's a pretty small detail, but I have kind of an idea that I could do kind of a radiating design down or something to make it look knit. I could do the French dance. That would be really cute and kind of mimic the texture. That she has in her hat. Victoria does a lot of collaborations. So she finds vintage photos that she can use, but she also collaborates with photographers and other artists, too, and does some really amazing pieces that way. So we could say that we are collaborating with the unknown photographers of these pos. You can also work with the imagery that's there or you can add other imagery. Victoria does both, so that you can have a lot of fun adding new lines and new life to your pieces. Now we need to figure out where this is going to go. I think I'm going to I really like the idea of doing something radiating. I've gone essentially around the outside edges, but for my sewing, this is going to be my center point and I'm going to go out from there. It's going to go out to this edge. Then I don't have to go all the way back. I'm going to jump over and then this will be that way, the line that goes that I see is going to be on the front image, not thread that's lost in the back. There is always going to be so now I'm on the back side, so I can go closer. I can do that and kind of go around either side. But sometimes you can kind of avoid losing out on having most superior thread on the front. It just depends on how you're putting it in. Then I have a lot of thread left, so I'm going to jump down and kind of add some of this green detailing in her outfit as well. Maybe I will give her kind of a belt. I'm going to do kind of a linear stitch. Then maybe for this one, I'll do a French knot, just to kind of like a tiny French nut, maybe just two, just to see if I can put the illusion of a mini stitch. Didn't really work the way I wanted too. If you don't like your French knot, you can usually undo it. It is knot in your thread. Like, there is now a knot in my thread. I'm gonna try stitching back through my hole. It's kind of stuck there for good. Worst case scenario, you can cut your thread and just take it out and then do it again. I'm just going to add some more stitching and see if I can trick it into laying a little flatter. I had to do this a little bit with some loose knots, kind of add some extra stitches to hold them in place. I was going to keep that linear effect. Now I'm going to kind of stitch between things to fill in. Some more to kind of hide the accident. I'm gonna tie my thread. Alright, let's assess where we're at here. We've got some geometric stuff happening. We've got some color fill. I think maybe I want to add some more design elements to her dress. So I'm gonna grab some orange, maybe just add a couple, like, pattern stitches. I do work really intuitively a lot of times and then problem solve along the way as needed. I could just kind of make it all flat and have adating lines going down. That could be really cool. Or I could just do, little tiny stitches. I think I want to do little tiny stitches. So I'm just going to start open some holes, kind of build it up as I go. Almost like confetti. I'm just kind of working my way from the top to the bottom. I kind of fill in these little dash marks. I've got a fair number of stitches in. I'm gonna do an anchoring knot. And then I think I might switch colors. Let's see if I want to do a different color orange. I want to make it a differ pop of color. I like it. I think it looks really cute. Before I do any more stitching, I think you get the idea behind what we're doing here. I do want to go get my paint pens, and I want to play around with adding in some of those details. You can kind of see how that can add to your piece, too. But you can decide. Do you want to keep it just embroidered and have it be the photo embroidery? Do you want to have it be the photo and the paint pen details that you add or do you want to do a combination? So I feel like she needs a combination. There's a lot of different paint pens on the market, pusily acrylic ones. I love Butam. They work great. They're awesome. They're dual tipped. They have a nice friday of colors. I think what I want to do is add a little bit of yellow. So I'm going to try just kind of putting in some yellow in between the green. Now, it is going to paint on the threads, too, which actually let's do that. Let's paint our embroidery. How fun is that? We get the texture and we get the fun papa color. I love that. Awesome. Let's see. I even have a similarish So I can add even some highlights. That's super cool. I want to put more up in here, but I can't decide if I want to go stick with blues. Kind of like it being blue. Let's try it. I kind of color in between my stitches. It is adding paint anywhere it kind of touches the thread, but that's kind of cool too. And because this paint pen is running out, it's kind of given you a cool ghost effect. It's do a little bit with some of the dark blue. It, awesome. I love that so much. I do want to add a teeny bit more. With anything, right, it's easy to get carried away. Alright, I love these lime colors. So I'm gonna go ahead and make her shoes line, that'll kind of tie into her hat and her belt. Maybe I'll take some similar orange kind of tie that into her dog's collar, as well as a lice. And then I'm gonna give her some jewelry. Over her bracelet with some gold detailing or some earrings. She's got a bracelet over here too, maybe. I'm loving this so much. I'm going to tie in the yellow a little bit more. Maybe that can be in here, and then I know I want to stitch in some more on the skirt. I'll use yellow for that too. I'm not sure if I'm going to leave her blouse as it is. It might feel incomplete if I don't put something there, but I could put a little color. But first, I'm going to sew in some yellow. You can see how you can just add little pops of color to either add to your embroidery or in place of embroidery. I'm going to keep going on this one and keep playing. That whenever you are ready and you've finished your piece, I would love to see it. So I hope you'll pop on over to the Projects and Resources section of class and share what you made in the student gallery. It's incredibly fun and inspiring to see how everybody is approaching this, what photograph you chose. I thought it would be really fun at some point to do this kind of idea with some of my own family's photos and kind of make a black and white copy of them on cardstock of some photos that my mom has collected over the years. I either my parents in the 60s and 70s or grandparents, great grandparents kind of play you can have a lot of fun and personalize this as much as you want to either to your own art aesthetic or tying in your own photographs or your own family photos. So I hope you had so much fun in this class. I really have loved sharing the art and process of Victoria Villasana with you, and I'll see you in the next lesson, we wrap up the class. And and and and 8. Final Thoughts: Thank you so much for joining me in this Victoria Villasana artist inspired series class. I hope that you had so much fun exploring either color line, mark making, working back into a photograph, whether you chose your own or a vintage one, and perhaps embroidery into those photographs as well. I had so much fun creating my class project, and I love embroidery into things and I love vintage photography. I have printed a lot. References that I'm very excited to keep sewing into and drawing into as I continue to explore this in my own art making. I hope that you'll go over to the projects and resources section of class and upload your project to the student gallery, check out the work that others created. It's always so fun to see the photographs that people chose, the ways that they sewed into them or drew into them, and just keep getting inspired by each other and celebrating everyone's continual journey. August. I would love it if you would take the time to leave a review. That is a great way for students to get an insider's view on what a class is like, what students are enjoying, how it's inspiring their art journey, what they're excited about, and it's great feedback for me as a teacher too. If you have a chance to leave a review, thank you so much in advance for doing that. Would love to stay connected. We can do that by clicking the follow button below so you get notified about future classes and anything else I'm up to here on Skillshare. We can also connect over on Instagram and YouTube. F I listed, Instagram, it's Elisabeth under Square Wellfare, YouTube, it's Elisabeth Wellfare, Instagram, I'm sharing art journeys, what I'm up to in the studio, adventures I go on outside the studio, different things I'm getting excited about, classes I'm taking, artists I'm checking. Over on YouTube, I've got a lot of different art technique videos and adventures that I take you on. It's just another way that we can stay connected. Thank you again for taking this class and sharing this time with me and I can't wait to see you in another class real soon till next time.