Transcripts
1. Intro: Welcome to the World of Minimalist Illustration: Illustrating can be a
very personal process. You can draw from your
personal experiences and channel that into your
very own personal style. If you are intrigued
with finding out what your style is through
minimalist art, then this class is for you. Hello everyone. My
name is Sandra Stab. I'm an illustrator
and graphic designer based in Zurich, Switzerland. And today we're going
to learn how to create mindful and
minimalist art. In this class, I'm a trained graphic designer who turned Illustrator in 2020. When everything changed,
because I purchased an ipad, I was finally able to translate
my love for drawing to the fast paced
digital world I was so used to work in
for over ten years, I became a self employed
illustrator after that, and it has been an
amazing journey. I have been able to work with international clients
such as Vectornator Pac, help UBS, and Penguin
Random House. This led me to the
realization that we all can do whatever we dream of if
we're just persistent enough. I'm living my dream
now and I'm loving it. In this class, you're
not just going to learn how to illustrate
in a minimalist style, now, we're actually
going to make the minimalist
style work for you. So you're going to learn
how to find your voice as an artist through
minimalist art. So how is this going to happen? Easy? At the beginning, we will first
explore your message and what you are all
about as an artist. And then we will learn how to channel that into
minimalist art. So if you're curious
about finding your voice and your
style as an artist, then this class is
definitely for you. The class project
is going to be, of course, a minimalist
illustration. We'll mostly be
working and procreate, but if you are an analog lover, don't worry, this class
is still for you. If you intrigued by now, then I'm going to see
you in the next class.
2. Setting the Stage: Class Orientation and Structure: Hello and welcome back. I'm very happy to
see that you made it to the second
lesson of this class. So here's how this
is going to work. I strongly believe
that every one of us has a unique gift to
share with this world. And if we find that and we're able to share
this with the world, then we make this place
a little bit more beautiful for me.
This is illustration. And it has led me to
work with a bunch of amazing people and
clients in this life. And I'm truly happy that I get to share this
with you today. So as I mentioned in
a previous lesson, this class is not just here to teach you a minimalist style. No, It's also meant to
bring you closer to your personal message
or your voice. As an artist, I know this
is a very ambitious goal, but I really wanted to teach
this class and really give some additional value to just
learning a certain style. So the way we're going
to do that is we split the content in
basically three sections. In section one, we're going to focus on your artistic voice. I've heard many people
call it like that. It's probably due to
the amazing book by Lisa Congdon that is called
Find Your Artistic Voice. However, I call it Message. And the first part of
this class is designed to help you find your
message as a creator. In part two of this class, we will explore
minimalist style elements and how to draw objects
in a minimalist way. There you're basically gathering
all the toolset that you need in order to create a
minimalist illustration. Then in part three, we are going to use everything that
you've learned to create your class project that will be a
minimalist illustration. This class will not
just teach you how to explore your very own
minimalist style, It's also here to make
you understand what your motivation is
behind creating art. Understanding what
my motivation is very often has helped me
overcome creative block, and I can hope that it
will do the same for you. And of course, I'm
going to sprinkle in the occasional neat
trick or hack that I use in my everyday
work day in procreate. Now, before we get started, make sure you
settle on a medium. As I said, this class is
designed for procreate. But if you have another app that you feel more
comfortable working it, or if you just want to do
this analog, then go for it. Not having an ipad should not stop you from taking this class. All right, and up
with the talking. I'm going to see you
in the next lesson.
3. Defining Your Creative Purpose: Discover Your Why: Hi and welcome back.
We'll jump right into the next exercise
that is designed to help you find your
message as an artist. We'll start with a brainstorm, because when I get asked how I found my
illustration style, it really all
originated from who I am as a person and not
just my drawing skills. And it opened up a
Pandora's box full of subjects I wanted
to turn into art. I prepare the template and the class resources
with the goal to help you explore your interests beyond illustration
and creation. As I have mentioned before, the goal of this activity
today is to make you stand out by giving you a voice
as an artist and creator. In order to find
out what that is, you will use the template and write down everything you
feel passionate about. This can be music, nature,
yoga, rock climbing, technology, really anything
that comes to mind, just write it all down
and keep an open mind. Don't hold back. The template is also to get you familiarized
with procreate, in case you've never or
rarely used it before. Give it a go, even if you
usually work with analog media. This exercise we will use the studio pen brush
from the inking set in, procreate, so you won't get held up by choosing
the right brush. Trust me, I've been
there picking out a brush for half an hour.
We don't want that. This is all about taking action and getting out
of your head, know, overthinking if you already
have another go to brush, feel free to use that one. After you feel
like you've gotten everything down on paper, highlight the topics
that interest you the most are that you feel especially drawn towards protep, print this, brainstorm, and
hang it up in your studio. This is a reminder of
what your art is about. The reason why you express yourself and what you want
to share with the world. Go back to it often
and add new things as they come up or eventually
start completely new. It's normal that we evolve as human beings, and
so does our work. This template is supposed to grow with you as an
artist and to give you a sense of what you as an artist and as a
person stand for. Now you have a clear idea of what you and your
art is all about. This brainstorm serves
as a reference sheet you can use to find new inspiration
for your next artwork. Or in order to describe to someone else what your
art is all about. Let's explore these topics more in depth in
the next lesson.
4. Fueling Your Imagination: Finding Inspiration in Art: Now that you know what
you are interested in, let's start looking
up other artists who explore the same
or similar topics. Keep in mind that
hardly any artist has the same themes
in their work. And that is great, because that's what makes you so unique. Just check out
artists who explore one or several of the themes
you're passionate about. Here's how I do it.
I use Pinterest for almost all of my visual
references and inspiration. The reason I use it is
because I can create boards of all different
topics I find interesting. The algorithm even
provides me with more pins I might
like for each board. Since I'm a bit of a
neat freke, I love that. Pinterest has a feature
that allows you to subcategorize your board into sections and to
organize your pins by pinning the ones that you
like the best you can. Of course create a folder
on your computer or ipad where you can save
all your inspiration. But personally, I prefer
Pinterest for two reasons. First, the algorithm constantly suggests new inspiring pins, helping you to keep your opt
fresh and truly inspiring. Believe me, I've looked
at my inspiration around 100 times. There comes a time when they just don't inspire you anymore. Second, by pinning saving, and liking the work of
other artists you admire, you help them get more
exposure and growth. That is much better
than downloading pretty nice pigs to
your computer, right? It's not 2010 anymore. For this lesson, we'll
start with a board called Minimalist
Illustration Inspiration. Again, we keep it simple. Start by searching
for the one topic you felt most inspired by
during your brainstorm. For me that could be
magic illustration, but for you, that's maybe architectural illustration
or yoga illustration. Now, browse around on Pinterest and save everything you like. Make sure you explore
the suggestions Pinterest provides you. When you click on one
of the images you like, go with the flow and type in anything that
you're curious to explore from your brainstorm
and save it on your board. This exercise is much
like the brainstorm. Don't overthink it,
just save it all. You can always create more
specific boards dedicated to one topic like
yoga or architecture. Or categorize your board
into sections later. For example, I have a board dedicated to traditional
American tattoo, because I often use elements from that visual
universe in my work. I also have a board on symbols and their meaning
I use in order to round out a composition
for pose references. I have a separate
board depending on what I want my next
illustration to be about. I pick references
from these boards and draw them in my
minimalist style. Instagram has a very similar
function to Pinterest. It's called the Safe button, can save posts that
inspire you and even create different
sections as well. Now you know exactly where to go when you're looking
for inspiration. It is essential to keep
fueling your creative fire by absorbing as much visual
inspiration you can. But don't take my word for it. Author Jeff Cones wrote an entire chapter about the importance of
absorbing inspiration, only to rearrange it and
make it your own creation. The book is called Real
Artist One Starve. And it's definitely a
must read, by the way. Don't be shy to learn
from your influences and adapt anything to your
message and needs.
5. Infinite Inspiration: Creating Your Visual Encyclopedia: Okay, now that we're done with the preparation we get to
actually create, are you ready? In the class resources, you will find a blank template
with only one dotted line. Pick one of the topics from a brainstorm you feel most
drawn to at the moment. Write it down on the indicated
line and start drawing objects that represent that
theme. I'll make an example. Pick the six pencil brush or you go to brush
for this exercise. Again, focus on the action
and on the process. Don't overthink it. Sketch
the objects in a simple way. Like me, I picked
the topic, magic. Some of the first objects that came to mind were crystals, skull herbs, incense, and so on. Don't be afraid to fill the entire sheet with
doodles this time. Less is more can be
totally ignored. What we want is quantity
over quality, protip. You can also explore symbolism
for more abstract topics. I, for example, have
this amazing symbolism encyclopedia that I found
in a used bookstore. There are tons of
books about symbolism. But you can also
explore symbols in tower cards, religious art, indigenous art, science fiction, movies or whatever makes
your heart beat faster. Explore the media that
already speaks to you and try to find out what the
symbols actually represent. Another cool way to
find objects to draw is to gather inspiration
from your surroundings. Maybe you have a
cute house plant and one of your
themes is nature. Then draw your house plants, draw the pots if one of
your themes is ceramics, or draw the furniture from
your favorite furniture shop. Make it personal by
bringing in things from your surroundings that
you think are beautiful. Look at the vast amount of objects you have in
your visual repertoire. Now, you'll always know
where to go should you ever get stuck in
your creative process. But to be honest, I
wouldn't know how that could happen with all the
objects you have now. Just waiting for you
to put them into one of your beautiful artworks. See you in the next class.
6. Crafting Your Style: Shaping Elements in Minimalist Art: Okay, I'm on a roll now. I don't know about you but I'm feeling in a
creator refresh. In this lesson, we'll get into minimalistic illustrations
and here's how we do it. In the class resources, you will find a template with a dotted line and
four empty squares imported to procreate or print it for the analog
lovers out there. And start by exploring
different ways of drawing one of your object from
your visual brainstorm. Just as we did in
the previous lesson, pick any object you feel drawn towards and make it
easy. Don't overthink. We'll again use the
six pencil brush or your go to brush,
if you have one, and draw the object in
different minimalist styles, much like during
the last lesson. The objects don't need
to be perfect just yet, we're still just
sketching. I'll go first. I picked the Lexer bottle from the previous visual
brainstorm and I'm going to draw it in different
shapes and versions. I can play around with
different elements or by adding some perspective. Play around with
whatever comes to mind. Since minimalist illustrations
often avoid perspective, I like to draw my
objects completely flat. Think about how this
affects your object and maybe try to draw it
in a three quarter angle. In frontal view or in profile view, protip. Sometimes I like some
parts of an object, but I'm not fully happy
with it just yet. Then I create a copy of
the layer as a backup. Hide the back up layer
by toggling visibility off and redraw the parts
I want to improve. But again, don't get
held up by the details. There is time for
fine tuning later in this class. Super Protip. If further down the road you'll ever feel
a creative block, go back to this template and redraw any object you like from your previous
visual encyclopedia or maybe even from your
brainstorm exercise. This is something I often do to get the creative
juices flowing. I just go back to
something familiar draw that inspiration usually follows just after a little while. By now, you have a vast
visual repertoire and at least four ways of
drawing your core objects. You can just pick
the version you like best and copy paste it
into your composition. See you in the next lesson.
7. Bonus Round: Elevating Your Style with Learning from Others: One thing that helped me define my style was to compare what I drew with the art of
people whose work I admired. This is a good
exercise to also find your core influence and to combine all your inspiration
into something new. Here we'll go back
to Pinterest to look up other examples of the
object we just drew. Since I drew an Alexerbottle, I search for that and
look at the parts I like. Then I go back to my style board and implement the parts I like best by redrawing them so they fit the style
of your object. You can also have a look at your minimalist illustration
inspiration board and compare your sketches
to the line quality, shading or details
on the object there. Incorporate what you like into your sketches in your style. Protip, compare my art
to other artists work. Help me define my
style even more by knowing what set me apart from
what is already out there. Because let's be honest, everything has
already been done. But not to discourage you, because your way of seeing
the world is unique. And that's exactly what I
want you to use in your art. To re, arrange what has already been done in your unique way, using your interests and your passions and
your drawing style. Even though I'm
teaching you how to create a minimalist
illustration like mine, I'm sure all the class projects will show a vast variety of how to use a minimalist
illustration style and will be very different
from one another. I can't wait to see them. In the meantime, let's meet
up in the next lesson.
8. From Idea to Sketch: Creating a Minimalist Composition: By now I hope you
have an idea for a general theme for your
class project illustration. If not, just start with one
of your favorite core objects from lesson six and find a scenario in which
you could draw it. We'll start this lesson by
picking one or a few of the core objects and roughly arrange them in
different compositions. We work with the same templates than in the previous lesson, but now use the
four empty squares to play around with the
elements in your composition. Bring 23 or four of your core objects into this template and play around
arranging them differently. This time, less
is actually more. Let's start small and don't
clutter up your canvas. You can always use the
other core objects that you absolutely love in one of
your illustrations later. Just a little reminder,
we are still working with a six pencil brush
or your go to brush, since we're still focusing
on the general composition. I picked the Elyxor bottle and I wanted to
add some elements. I like the idea of having
a snake wrapped around it. I'll try out different options of placing that bottle
with the snake. I can change details by
copying my layer and re, draw parts of my sketch, or by entirely redrawing my
core objects in a new square. Don't forget to design your
white space intentionally, meaning that you leave space to let the composition breathe. In other words, don't clutter
up your compositions. Which brings me to
another key aspect of minimalist illustration. Intentional white
space, which allows the eye to focus on only a few
objects rather than a lot. It highlights the
general theme and message of your
illustration even more. In this step, you can also
start thinking of decorations. There can be small
decorative elements that further help transmit
the message of your art. For example, for my magical
eleoxier themed illustration, I can add a skull crystals, stars or moths to just
nf feel free to bring other and maybe not so obviously
related elements as long as they enhance the
composition and don't draw attention
from the main theme. Pro tip. Already think
which objects you want to draw using only outlines and
which ones should be filed, Which objects should
have texture. You can even think
of colors already, but we'll get to that
in the next lesson. The general rule is if it looks good in only two
colors, for example, black and white or light
pink and dark blue, it will also look
good with color. We have now at least four
different composition sketches we can base our final
class illustration on. You're more than ready for the next lesson. See you there.
9. Signature Brushes: Personalizing Your Minimalist Toolkit: For this lesson, we'll again
use our style template. But this time we fill the
squares by drawing some of our core objects in each square
using different brushes. I only use a handful of
brushes in my illustrations. Remember, less is more. I have to admit that I never
downloaded a brush set. They're wonderful
tools to explore, but I prefer working with only a few resources in order to find out
what I like best. I personally can
feel overwhelmed by too many options to pick
from, but that's just me. My go to brushes are the studio
pen from the inking set, the fat nozzle brush from
the spray paint set, and occasionally the soft brush
from the airbrushing set. Of course, I use the six B
pencil from the sketching set. For all my sketching, use the template as follows. Write down the theme of your illustration on
the dotted line and use the four empty squares to test four different
brushes you feel go well with the general theme
of your illustration. As I said, I use
the studio pen for my outlines as I like
crisp, clean lines. But maybe your theme is
something different and you'd like your lines to
have a bit more texture. Find a few brushes that have the right feel and
draw a few lines, or even one of your core
objects in the empty squares. Fill in some of the objects too, to see how the brush behaves. Once you're done,
repeat the same step, but now pick brushes
for your textures. I use the fat nozzle
because I also work as a muralist and I used to do quite a bit of street
art back in the days. I just love the look
of a spray can line. This is why I chose this brush. Even though my illustrations
are very clean, I occasionally like to add some complexity by using
this brush in my work. Protip. Feel free to
skip the texture brushes because maybe you don't want texture in your artwork.
That is fine too. I only started using texture later on because it felt like necessary effect for me until I found a personal
reason why to use it. You have two templates with
four different brushes each. Consider which ones go in line
with the mood and message of your illustration and pick
that one for your outlines. You can also be the same one you're going to use
for your textures. Again, less is more. Pick one, maximum two
brushes for lines and texture you can always add to your brush
repertoire later. Okay, see you in
the next lesson.
10. Style Essence: Shaping Your Color Scheme: In this lesson, we will
use the blank template to create our own minimalist
signature color palette. The color pallet consists
of at least four colors. The base color,
the accent color, and two neutral colors. As always, we'll start writing
down the general theme of our class project
illustration on the dotted line. We do this so we always have a visual reminder of what the purpose of this template is. If you come back
a few days later to this template
or to the class, you'll always know right away the theme of
your template and you keep your mind
clutter free. All right. Now let's pick a base color that represents
your general theme. It can be obvious, like
for coffee can be brown, and for nature it can be green. Or it can be based on color
theory and color psychology. If you're new to color
theory and color psychology, make sure to check it out on Pinterest or do a
quick Google search. Of course, there are
also wonderful classes on the topic on skillshare. I'd like to start with creating a new color palette
by clicking on the color swatch at
the top right corner. Then I tap on palettes. Then I create a new palette by tapping the plus and name it. The general theme
of my illustration is magic or magic potion. I want a vibrant purple
as my base color. If you're still unsure
which color to pick, just start with your
favorite color. I usually pick my first
color using the disc. I pick a general hue
on the outer ring, then fine tune it in the disc
or using the value sliders. Once I like the color, I save it with one tap in
my newly created palette. Now we'll pick an accent color. I recommend this
to be a color that is very different from
your primary color. I sometimes use the harmony tap in procreate to
find suggestions. The accent color should generate a contrast to the first color. You can, again, play around with the value sliders until you find one or two colors you like the best si them
in your palette. I like this pink, but I
want it to be more vibrant. I'm playing around a bit with the value sliders to
make it more saturated. Last but not least, we'll pick one or two neutral colors that help balance
out the composition. Too many saturated
colors draw the focus from the message or purpose
of your illustration. We want to make sure we'll guide the viewer using
colors intentionally. I like using the
brightness slider in the Value tab to create tints and shades
from the same color in order to have more
variety to pick from. If I work with a
very saturated color and I want a more
neutral version of it, I also use the saturation
slider within the same value. Tap in procreate. Keep drawing your colors into your template and highlight
the ones you like. Best pro. In order to create
a strong brand, I always use the same color
palette in my illustrations. I created my color palette starting with colors that
are meaningful to me, like the indigo blue
and the light pink. They actually come from
my master's thesis. These colors stuck with
me over the years and I kept using them throughout
my illustration work. Now, my illustrations are
also known for my colors, which is definitely something
worth considering if you want to stand out
and be recognizable. Whether you choose to create your signature color
palette from colors of personal significance
or according to the theme of
your illustration, you know how to create a
minimalist color palette. All right, see in
the next lesson.
11. Pro-Level Canvas Setup: Perfecting Your Workspace: Finally, it's time to set up our art board for
a class project. I often work with
a square format or a four by five format. It fits nicely into
my Instagram feed, yet I can still produce prints
from the artwork later. I use very big formats to
ensure I can make prints from my illustrations without almost any additional effort. For example, I 440 millimeters width and 550
millimeters height. I set my resolution to 300 DPI. The bigger your size, the less layers you'll
have available. In procreate, I just use
that in my advantage. It keeps me focused on
creating as few layers as possible and to work within the
restrictions of the app. Again, less is more. If you work in analog media, I would advise you to pick a big format for your class
project illustration. That way, once it's done, you can scan it in
high resolution and create prints
from your original. For this project, we're setting
the color range to RGB. Then you tap Create, and voila, we have our artboard for our
final class project, Protip. You can also work
in a CMYK mode, having your artboard ready
for print from the beginning. I however, prefer RGB because the colors
are more vibrant. Nowadays, more and
more printers can print directly from an RGB file, creating more saturated prints. Even though you might have
learned that anything that will be printed
needs to be in CMYK, that is mainly true
for offset printing, for art prints, this is
definitely not true anymore. You have your artwork ready
and you know whether to pick an RGB or CMYK
color profile. Plus you know what to
pay attention to if you ever want to sell your
artwork as art prints. I'll see you in the next lesson. We will finish our illustration.
12. From Sketch to Masterpiece: Creating Your Minimalist Art: Okay, Oh, we've
learned a lot by now. And we'll finally put
all this into practice. In this lesson, we'll finalize our class project illustration from sketch to final artwork. I hope you're all excited
because I sure am. Let's go back to our sketch we set up at the end
of lesson eight. If you haven't imported it yet into your artboard,
here's how to do it. I picked a sketch I like best selected with
the selection tool, swipe down on the canvas with
three fingers and tap copy. Then I go to my freshly
set up artboard, swipe down with three fingers
again, and select Paste. I rename this layer sketch, And I lower the capacity to about 50% by tapping
it with two fingers. And adjusting the sliders. I like to work on a
colored artboard. First I change the background
to this pale pink hue. Then I start redrawing
all the objects in my illustration using
the outline brush I picked in lesion two, Each object goes on a new layer. Some objects I fill
by using recolor. In procreate, I drag and drop the color from the top right
corner into my object. Be aware that this only works
within enclosed shapes. If you use a texture brush, it's possible that
you will not have a clean outline and
that you'll have to color your object manually. For some objects, I really like to use the
symmetry feature. I use symmetry a lot in my art. And then I usually add a few asymmetrical elements to the composition to
make it interesting. If I'm unsure if I want an object as outline
only or filled, I create a copy of
my outline layer. Tkle visibility of
the outline layer off and then use recolored
on the copied layer. That way I can always
go back to the outline. Should I ever change my mind, I mostly decide which
objects to fill or not based on if it makes the
composition look balanced. Sometimes objects get
too much importance if they are solid color
and I don't want that, I leave them as an outline. Sometimes I need more weight in a particular area
of my illustration, I fill in a shape. It's an intuitive process, it just needs to feel
harmonious to me. This very step, I also
start assigning colors. I use my basic color on the objects of the
most importance, and the accent color
as the name indicates. To add accents for
bigger objects, I use lighter tints. For smaller elements, I use darker or more saturated shades. You can always use an
accent color also on a larger object in your design if it fits the general mood. Why not using neutral colors for larger objects or for
the background Protip? Duplicate your
layers as a backup. Sometimes I want to
see if an object looks good with texture or fill, or I want to modify the
shape a little bit. But before I do that, I create a backup copy of my layer to
toggle the visibility off. That way, if I decide
further than the road that I like the composition better
with the previous object, I can always go back without losing any progress
of the illustration. Now our class project
is almost done. Only a few steps are missing. Let's jump right into the next lesson and finish
our class project together.
13. Texture Magic: Elevating Your Minimalist Artv: By now you have
turned your sketch into a flat illustration. In this lesson, we will apply
textures to your objects, giving them depth and character. If you choose to not add
texture, that's fine too. I didn't use texture at
first in my illustrations. I only started to
add them later. Now I really like them, but it doesn't always fit the theme and mood
of the illustration. Feel free to jump ahead
to the next lesson. However, I would encourage
you to watch this lesson and decide later if you
want to use texture or not. It never hurts to learn
something extra. Right? What I do to add
texture is I create a new layer above the layer of the element I want to
have a texture on. I name the layer texture and
make it a clipping mask. Now I draw on this layer
as freely as I want, but the texture
will only apply to the reference layer below
that contains my object. If I toggle clipping mask off, the texture will be applied
to the entire artboard, which is something I don't want, but feel free to try it out. The clipping mask
feature is very useful if I choose to change the
color of the texture later. If I apply texture
directly on my object, I would have to
recreate the texture each time after
recoloring my object, which is something
I definitely don't want use texture only on a few objects
at first because this is a minimalist
illustration after all. If you're really
feeling the texture may be even added
to the background. But I personally
prefer it only on a few objects to make
them really pop. Now is also the time to add some last details, decorations, and final touches to your
illustration. Protip. To change the color
of one object, easily swipe the layer using two fingers to the right
or toggle Alpha lock on. Then pick the new
color for your object. Click on the layer again
and tap Fill Layer. This way it fills
your entire object rather than the entire layer. If the entire layer gets
filled with a new color, then alpha logged
wasn't toggled on. Now that if you
applied your texture, your illustration
is almost finished. I say almost because
artwork is only finished. Once it is signed, make sure your signature is definitely
in there and you're done. I'll see you in the next
lesson for some final notes.
14. Course Recap: Wrapping Up Your Minimalist Art Journey: All right, that's a
rap congratulations to your first minimalist
illustration. I'm really excited to see them. So make sure you're
going to upload them at the end of this class
in the project section. I hope that by now you feel
inspired and confident to explore minimalist style
further in your illustration. You know where you can find inspiration in topics that
are close to your heart. You know how to translate
them into your style. You also know how to arrange them into meaningful
compositions. And you also learned
how to use color strategically so you can further strengthen your
brand as an artist. I wish you an exciting time on your path as an illustrator. If you have any questions, drop them in the
comment sections, in the discussion
section of this class. And if you like my work,
follow me an Instagram. You will find more
inspiration, tips and tricks. And also you will stay updated on Upkmic skill share classes. Thank you so much for
taking this class with me and I hope to see
you next time. Bye.
Sandra Staub, illustration & design
