Transcripts
1. Introduction: It hasn't old perfume
or a photograph just grabbed you back
to a memory that you have long lost
and forgotten. And you wondered,
how did I forget this type that, that
sensory stimulus, whatever that was bringing you back the faces of
the people that you are close to back then in the feeling you had at that age. Now, do you want
to travel back in time and recapture
the essence of that memory in somehow immortalize it in the
form of an art piece. Then this class is
probably for you. Hi, my name is Winter sofa. I am in, in fact,
storyteller, Illustrator. And for this class
we'll be making this art on Adobe Illustrator. But you can follow along with anything you're
comfortable with, length, Photoshop, or Procreate. Now you don't have to be
an expert Illustrator to follow along with this class. What we're going for is
not technical mastery. We're trying to
capture a time and a place from a bygone era. So together we'll be gathering sensory stimuli that can
inspire you for your artwork. This can take the form of an old perfume bottle that you used to use back in high-school, or candy that used
to love as a kid, or maybe even Polaroid photos that he might have
taken back in the day. Now this can be anything
that can take you back to that age and let you draw
from that perspective. That's what we're going for. In my case, I'm going to be cracking open my
middle school journal. This is a centered diary, so it's really jogs my
memory and helps me remember the feelings that I had as a middle school kid back
in Jeddah, Saudi Arabia. And that's the perspective
I will be drawing on. Once we gather everything
we need to go back in time and look from
that perspective. Then we're going to be
putting all our references on computer and starting
our sketch from there. Again, as I said, I won't be focusing on technical
aspects a lot, but I'll be giving you
tips on how to use Adobe Illustrator along the way that you can use
in later projects. And we're going to
be working with colors and themes
just to capture the mood that we're going
for now when we're done with our work and we refine
it to the level that we want. And we experimented
different iterations of the same artwork. We're going to be
exporting it in high-quality so that we
can't either store it for ourselves or even turn it into gifts that
we can give away to our friends or
loved ones that we probably shared
these memories with. I encourage you to come
along on this class and I hope it's a lovely
trip down memory lane.
2. Class Project: Hello. In this lesson I'll
be telling you what materials you might
need for this artwork. It's going to vary
greatly depending on what memory you're trying to capture and what tools
should be using. I'll be using my middle school
diary, Adobe Illustrator, a photograph from within their phone to capture the
photograph, and that's it. At this stage, you
can grab anything else that you think could
help you jog your memory. It can be an old
perfume artifacts that you have had locked away, dollar, anything
that will help you remember something that
you want to capture. For our class project, we are going to be making an
illustration using all of these references and sensory
stimuli that we gather. In the next lesson, we'll be sorting through our memories and
trying to capture one that we will be turning into our artwork for
your class project, I hope you can upload the
final illustration that you draw that's inspired by their sensory stimuli
that you've gathered. But if you don't get there, it's okay to share a
color palette that you came up with inspired by the memory that you
wanted to revisit or the items that would
inspire an illustration. So this could be a diary page or items that used
to love as a kid. So in my case, I just
shared my project here. This is where you would
upload your project. You can see mine right here. Yours would sit right here. You can edit this at anytime, so feel free to
update it as you go and maybe write a
little description of what your illustration is about. Or if you're going to share a
diary page or a photograph, then you can just
include the memory with the year and maybe the group
of people that you're with. So I hope that clarifies the class project and I hope to see what
you come up with.
3. A Trip Down Memory Lane: Hello, welcome to this lesson. For this exercise, I want
you to sit down and allow yourself to go back and
reflect on certain memories, certain places that you
would like to revisit, not included a PDF in the
resources tab that you can print out and start writing
down the answers to. This will help guide you to choose differences that
you want to go for n, to choose the perspective that
you want to draw from 20, be select that memory. I wanted to answer
a few questions. What is the mood you want
to capture in your art? Isn't nostalgia, sadness, pain, joy, or any other emotion? Are you in contact
with any of the pupil? You may share that
memory with Kenny, ask them questions, or get details you may want
to use and exercise. This may be a cool
way to reconnect with old friends. No, no, no. This is the diary that
I'm going to be opening. Just opening. It brings back so many
memories. The smell. You guys who did this
in middle school, having different colored pages, a different colored pens. I was one of those groups. This might be quite
an emotional process because you may not
go for a happy time. Or sometimes you feel
nostalgic about this might bring back some
pain and regret. And this may even be aware
of processing your feelings. For this class. I'll be picking a photo that my friends and I had taken in Pizza
Hut back in Jetta. This was at on 2009 and we
had gone to an a safe house, which is one of the most
famous heritage sites in Jeddah, Saudi Arabia. It's a very old house,
very well-made. So I'll be trying to capture
the wonder of going there. So this is the memory that
the photo there and be going for the smell. The smell just brings me
back to middle school. I am a 13-year-old girl
hanging out with her friends. Again, this is amazing. I want you to go through these questions and
based on your answers, pick the memory that
you want to go for. Find reference photos
that you want to use. And in the next lesson we're going to be
transferring all of these references to our software
and get on our artwork.
4. Prepare Your References: Hi, In this lesson
we are going to be scanning or taking photographs of our references and
transferring them to our computer where
we can put them on our software and
start our artwork. If you're going to be using
your phone to take pictures, make sure that your phone lies horizontally over
the photograph. That you take a few pictures so that you can select which one you like most when you
transfer it on your computer. Right now, I'm
going to be moving my reference photos
to Adobe Illustrator. One thing I like to
do before I move my reference photos is
create two separate layers. One where I'm gonna keep
a photo of my subjects. In this case it's my friends. And one where I'll have
the background image. In this case it's
in a safe house. So I'm going to
have the photo of my friends above the
photo of messy house. The blue layer would be
above the red layer. Now I'm going to be
moving first photo. I embedded and I
resize it so it fits the art board and it's comfortable for me
to play around with. Once I'm done with this, I'm going to move on
to the next layer, press on that, and move a photo of a safe house where I'm gonna do
the same thing, embedded, resize it, and
just have it prepared on the next art board so that I can move on to the next lesson. Now, the best thing
about this is I can just switch on and off lock and unlock layers so I can play with each
photo individually. And in the next lesson
we're gonna be picking a color palette and we'll
get onto our artwork.
5. Create A Color Palette: Now to one of my
favorite parts of creating an artwork which was
making the color palettes. In my case, I want to
go for something very realistic and close to the reference photos
I'm going for. So browns and greens
would be good. But make a rectangle and press
Alt and copy it and then Control D to repeat the action
of copying several times. Now it'd be using
the eyedropper tool to pick colors from
the photograph itself. Just steal colors from there
and color every box that I have on this list until I have come up with
a combination that I like. I'm going to be picking
a lighter color from within the building, Greene's of the trees. And I'm going to be copying
the boxes adjacent to them to where they are so that I can play with different
color combinations. Now, this can be automatically
generated or you can go and hand pick
colors from the color tab. Now, I like to go
crazy at this stage. I'd like to open
this part and just **** all the different color
combinations that I can use because you never know until you see them next to each other. You can't tell which
ones would match. I like some of these yellows. I like the light yellow and
though more brownish color. And I'm just rearranging
it so that it looks somehow like a
coherent color palette of sorts like you can, as you can see, I'm just feeling the colors
at this point. I'm not really following any
color theory or anything. I just want something
that feels old school, but also kind of youthful. And so I pick a blue
from the sky in the photograph and a
light grayish color. Once I'm happy with the colors, I put it on a separate outward and export it so that I can have this color palette ready for my future artwork and for any other reference that
I need in the future. Once I'm done with this stage, I can move on to making
the artwork better, basic shapes that would
be color blocked. And I'd love to see you
in the next lesson.
6. Capture The Setting: Okay, Now that we have
a color palette ready, we can start capturing the environment that
we want to have. So I'm going to start
dragging my color palette. I think I'd be comfortable. And I'm just gonna be moving my base photo or the photo
of a safe house here. I'm gonna be locking the layer where it's
just my friends, the photo of my
friends so that I'll only be operating on
an a safe house layer, the one with the red line. Now I'm going to be
picking a brush. I want to see which talk I'd
be most comfortable with. Pick up a color using
the eyedropper rule. Just start drawing. I'm just approximating
floors at this point. So I just wanted to show
the levels of this house. Now I'm just outlining the basic shape of the
house is the Tango. And I'm going to start
filling in the details. I'm adding a lamppost and trying to straighten out
the lines just a little bit. There's this brown
square thing on the side on the
top right corner. Very big brown blob or
rectangle in the middle. I'm just trying to
capture those in the simplest shapes
or forms that I can. So I'm going to be
making a window, a little window like this, and I'll just be copying
it, duplicating it. I use the alt key to drag them. To copy them
basically controlled. You would repeat the action too. I'm doing the same
thing with the little circles on the top. Just want to, people who see this
illustration to be like, Okay, that's messy house. If they see this
picture, they'd be like people who
known as IV house. So I'm just adding
the very basic, very, very simple outlines. I don't want to go
too much into detail. I still want to keep
this minimalist look. Now that I've done this, I want to start coloring. Now. I'm going to start with
major color blocking. Just made a rectangle. And I'll be sending
this to pack. Once I've done that, it's behind the windows and I'm going
to repeat that action. I'll do the same
thing to the door, but since it's receding inwards, I want to show that through
coloring it a darker color. And I'll just start coloring. This guy is the
very big blue blob that I have in the
color palette. So I want this to be
very fun and whimsical. So I'm just, I don't want
to clean it up too much. I just made a huge scribble
use to represent the sky. And I'll have something
similar for the groan, I'm gonna be picking a yellow
from the color palette. The darker one is
in the back showing the receding point and then the lighter yellow
would be in front. So once I have done this, I'm just going to be readjusting positions just a little bit. I will see that in a safe
house is on a platform. So I went to represent that
by adding another layer. So it's not just these
two floors or layers. I'm gonna be adding steps and the spots where
I'd have the plants. Now, I'm going to be starting something really
fun for me actually. I'll just be drawing the tree
that you see in the photo. So I'm drawing this
very jagged trunk. I want it to look organic
and just scribbling all over represent plots. I got this scribbling technique
from architecture school. It's just, you just want to capture the idea of
what you want to draw. You don't want to
really spend time on showing a lot of detail or too much details or being really,
really accurate. I'm just moving it on art
board just to see how it looks overall with plenty of
negative space all around it. And I'll be saving a copy. So I have this in my pocket. And so this is, this is it for now. For now, this is the main
bones of this illustration. Now once I have this background, I'm gonna be focusing on
rolling a subject's next. See you in the next lesson.
7. Draw Your Subject(s): In this lesson,
we're going to be drawing the subject
or subjects that you want to capture within a memory that you
want to illustrate. I have a picture of me and my friends that we
took in Pizza Hut. We went to pizza at right after we visited
in the safe house. I'm going to be putting
that picture in front of the illustration of the safe
house and reducing capacity, sizing it down just to
see where we would fit. This didn't have to have happen, but I just want to place us
right in front of Displace. I'm gonna be drawing some
basic shapes, circles, blobs just to
represent our faces, our hands, our hair. So it's just really, really basic shapes or a bias. I just want to
approximate the shapes. I don't want anything accurate. I just want to show that we
were here and this is where we would've been and this is how we would've
been next to each other. So using the brush tool and I'm going to just be approximated where
our scarf would be, where our hands would be
on top of each other. Where the flares from our bias, where that would be connected. And it's just, I only want
to capture the very basics. I feel like the moment you
start overthinking this, try to step away and come back. And if you feel like the
basic shapes sorted, capturing the subject that
you're trying to draw. You've done enough, you've
done your job here. I'm just drawing the legs. Just very basic trapezoids or rectangle shapes
and little circles to represent the feet. Nothing more than that. I just want to capture all
of this before I fill in the details because
I want to still be able to see the picture
in the background. So now I remove the picture and I want
to reduce the opacity, see how we would look. Now I wanted to use
the color palette that we've already made so that I can color or fill in
the shapes that have made. I select all of these shapes and I want to see that we
have a similar look. So I'm going to
go for the yellow that already have in
my color palette. And I'm just going to see how it feels that are phases,
is it representative? Our skin tones are
slightly different, so I'm gonna be playing
around with that a bit, but I'm not going to be
focusing on that right now. So for the bias epic darker brown that I already have
within my color palette, I try not to leave that
color palette so that I have a more consistent
minimalists, simplistic look. And I just color the scarves, just simple block colors. They don't have to look like
the color in the picture. Just want to show
that it looks like even vaguely like the picture
that I'm trying to capture. Again, this isn't
really about accuracy. It's about trying to
capture the place and your position with your friends and where you were
within that place. So it's just very
cartoonish, childlike. And that's the look
that I'm going for. Now. I'm just playing with
the hairstyles a little bit. My friends had
really straight hair with long side swept bangs, and I had more of my natural hair
look in this photograph. So I'm going to try to capture that was more full and
I had tied up in a bun. And again, I keep being tempted
to draw more accurately, but I'm fighting those
temptations just to capture the idea of what
those friends looked like, they wouldn't be
recognizable from this illustration or
from the picture. But in my head, this is the cartoon like
image that I had of them. If I want to turn
them into a cartoon, this is what they
would look like. I just isolate them
separately with the lamppost, just a sharp position there. And I want to have that alone so that I can play around
with it in different ways. So I isolate them alone, isolate the safe house
illustration alone, and I export it so that they can move
on to the next step.
8. Final Touchups: We're nearing the end
would final touch ups. And this is where I get to add these little details that add more coherence to
the illustration. In my case, I'm gonna be using
the brush to add shadows. I'm gonna be using little
strokes and blobs, irregular shapes in black. Just to add a little
shadow effects, they don't have to
be very accurate, but I just wanted to
give an approximation of what it would be like for characters that are
standing right there. So I'd add it to the pole
that's next to them just to showcase the sun was from
above them from this angle. So they're anchored
to that location. They can't just slide
away any moment. I didn't just slap them on
Dennis, if house illustration, I think little details
like this head make the whole illustration
more coherent. And like they were
actually there. I'm not looking for
accuracy again, I'm just adding
these little details and reducing the
opacity of the black. So it's not really overwhelming. It doesn't look really in your face and just grabs
too much attention. But I think overall it's
going to help anchor these characters to the location that I've placed them in. Like I said, this
didn't really happen. We probably didn't understand
in that exact location. But this is the gist of the memory memories that I had on that special field trip. They, now it'd be
zooming out just to see how the illustration looks in the context of
everything else. And I'm gonna be making
these tiny adjustments to the shadow just to see
what looks better. I try not to overdo
this step because I tend to take forever in
the final touch ups. So I just wanted to make it look like the anchors
to the place, but I don't want to add too much or I don't want to make it look too overwhelming. It just wanted to
see the shadow near the pole looks good and the shadow next to us
looks fine, not accurate, particularly just
serving its purpose, which is really making it look
like we're standing there. Once I'm happy with that, I am going to just
select all of us, the characters in
this illustration. And I'm gonna be
isolating us that. I move on to the next step.
9. Playing With Colors: Now we can stop at this point, but it really won't
play with color. So I will leave the layer
where I have my subjects on. I'm going to select it. And I just want to start seeing
what they would look like against different colors and different
themed backgrounds. Here I have a simple drawing of just something that would simulate a blue
sky in Greengrass, fairly stereotypical just Disney movie or cartoon situation. And I have the characters, my subjects standing in
front of it with the, along with the shadows. And I would just make
these basic fixes to what I did to
these backgrounds. And some of them, I have
these little taglines like the year it was 2009 and the location was
Jeddah, Saudi Arabia. I just have this
written thing beside it and I have this my friends
in Jetta version two. And it's, again,
this is just like sentimental words
that I added in here. I might leave without
towards the end, I might just go for
these backgrounds. If I feel overwhelmed
by the safe house, I just wanted to see what the subjects would look like
against different layouts. It's completely optional. You can opt out of this stage. I'm just putting it in
front of the background, seeing what the subjects
would look like. Do they need to be
bigger, slightly smaller? Does the shadow
needs adjustment? Clearly, my signature and
everything meets the move. Once I'm done with that, I will copy my art board
and I also want to try another background where
I just take the lamppost. I'm going to enable that layer. I will pick up my
lamp posts from this house situation
along with the floor, and I'll copy it down to where I only have the subject's
me and my friends. I'm going to just
position it in a place that I think would kind of simulate the placement
shouldn't feel too off. And I would've just
the art board to just frame this whole setup. Well, I want it to
be more landscape themed instead of the more
square-shaped that a hat. Now just like before,
just a little bit. And I just wanted to reduce
the opacity of these colors. Again, this is the same thing, except I added the color
palette because I love having artwork decide
color palette and I will just save this version. And this is just
different iterations of the same artwork. I just want to have expanded and see what else it can make. Now, what we're
going to have fun. I clicked Edit and I'm
going to re-color artwork. This is where I get to do one of my favorite
things on Illustrator, which is just with a few clicks. You see on the side where
we have the basic colors, we have the grayscale. You can adjust the entire
artboard color scheme. So just click Control a to
select the whole art board, or you can select one art board. And you can see what
this looks like with the green and blue looks like. I'm gonna save this version
because I, I don't hate it. So my favorite
color combination, but I want to have
the option later on. I'll just save it in one form and I'm going to start
playing with other colors. And we'll see where that goes. Now again, I'm going to go back and I'm going to click on Edit, Edit, Colors, Recolor Artwork. And I'll have all of
these different options. You see we have the
greens with the red. It looks kind of like
a villain character from a cartoon situation. I would just want to
see what it looks like. Overall, it looks diabolical. It's hurting my way. I'm just going to go back
to the original color and going to edit the colors. Once again, I click
on Recolor Artwork and have these calm colors
again, browns, blues, greens. I can pick any of these. I'm going to pick
my complimentary, second complimentary option. I'll see what that's
doing to my artwork. It's slightly different. The blue is commerce, saturation is lower,
it's different. The browns, the yellows have
become more monochromatic. Inoue. I'm gonna save this
version too because I think I'm gonna go
back and check it up. I like it. I'm going to just write down
something to remember it by. I'll save this. It's a huge file analysis
gonna take time. I'm going to do this again
few, few more times. I am. I love this color. The blue, the more purple. The purple and brown tend
to go well with each other. So I wanted to see how
that would look like. This is more of a cyclic
green with a brown. This is more of a
monochromatic in a way. Very boring, very dull. But okay, this is, this is weird to me. I don't really, I'm
not feeling it. But you see all of these different
colors on the left became a few colors
on the right. It's going towards a more
monochromatic theme. And I think I want to
have these options. I think this is enough
colors for one artwork. I have played with colors and not really a big fan off and colors that I've
frankly really like, probably more than the original. So we're gonna be moving
on to the next lesson. I hope you guys like the
colors he came up with.
10. Turn Your Artwork Into A Gift: Now that the artwork
is finished, I just wanted to
show you how I can turn it into prints
that I can give away all my friends and loved
ones more keep for myself instead of just
having it in soft copy. But first I'm going
to go through my different colors real quick. Now this artwork has turned into several different
versions of itself just by changing
the color scheme. I have this monochrome
right here in this brown that I don't really
likes. I'll delete it. And I'm just filtering
through the different exports that I made earlier so that I can only keep the ones
that I'm okay with. So the browns here look
at both washed out. I don't really like how
they are turning out. Exhibit dull. The blacks just completely, in my opinion, ruined
the artwork style. It doesn't really look joyful
or childlike in any way. So I don't think
I'm gonna be going 40s and the green and
orange is horrid. I really don't like this one. This nope. The red one is unknown. This isn't just diabolical. This is this looks
offensive somehow. This color scheme just no, I don't think I'm
gonna have this on any prints on any
hypothetical surface. Actually, like this one. This one is a bit
washed out a bit, but yeah, the colors are
a lot more pleasing. They go well together. It feels nostalgic
and I don't know, I kinda like the
sublime in a way. We're back to the reds. Kind of terrifying. I kind of like this, especially
in the isolated form. I'm not really
feeling the writing beside the different artworks, but I'm glad I tried that out. About not judging too early is you can have all of these
different options later on to judge from
this is orders not artwork with the color scheme
that I originally picked. And yeah, kinda like how
they're turning out. This isn't the safe house. Know that I have
Society six open. I paid my dollar to have
a page here as an artist, just so I can have a place where I can have
my prints uploaded. So anyone can open this
and find my prints. And I can also buy it myself once I see how they look
on different surfaces. So I click Upload Artwork, go through my files. I've already sifted through
the ones that I liked. So I'm just gonna pick the
ones that I really want first. So my original artwork, that's gonna be my
featured image. And then I'm gonna be going through the different fires and seeing other variations
that I can play with. So it's not just the same
copies of the same colors. I'm going back and forth
uploading new files. I can drag it too. But I prefer to go through the fives I just labeled
at the childhood Arabia. And I am going to go
through this one more time. See if there was one more that I want a few more
pictures that I like. I select the featured image
and I keep changing my mind, but I, I think I'm going to go for the
simple background one. The one without the CIF has
to be my feature image. I'm seeing if there's
one last picture I can have and now
I think I'm done. Yeah, I'm pretty much done. I can adjust to just
the color scheme too, just so I can have a phone
case cover dimension. And I can see how to look
on various products. Just going to select
the color scheme, one that I just edited. And I'll be ready
to go. That's it. On some done, I click Select and I go through my agreement. And now look at this magic. This is how it would look like on all of these
different surfaces. Pillow cases, mugs, tables, stools, and there are places
where it's not applicable. Coasters, towers, acrylic
phone case covers. Do you see how nice that
phone case cover looks? Different bags, different
types of bags, t-shirts. So perhaps if I had a PNG, it would have looked
PNG file where you don't have the
white solid background? It probably would've looked
nicer on the t-shirts. But yeah. Do it for the next time. It's going to call
the categories and add tags so it's
more searchable. This isn't just gonna be
something I keep from myself. Once I've gone through
these different tags, I'm going to see check
what I need to check. Just navigate the site a
little more and save it. Now I have this and I can
check how much percentage or the sea and estimate
of how much money I'd be able to make from each
art piece or each print. This would give me a
good idea if I would be buying my own prints, this would give me
a good idea of how much each one would
cost and how, what's the percentage
Society's website is gonna take from my prints. Now you can try any other
print on demand website, but I really like the
simplicity within society six. So this is it for this lesson. See you next time.
11. Finding More Inspiration: This is an extra
lesson in this one, I just wanted to share
some of the classes here on Skillshare that are really, really helpful to me
and showing me what else I can do with graphic
design illustration. So tell if these
classes include. The first Skillshare
class I recommend is the art of the story
by Debbie middleman, where she inspires you to tell a visual story by
first showing you a diverse selection
of artwork that she has collected over
many, many years. Her passion for design
and art really shines through throughout this class
and I highly recommend it. I also highly recommend
her book How to think like a great graphic
designer to anyone who wants to be a designer
creative of any sorts. She's generally inquisitive,
interviews people across the design discipline and asks amazing questions
because she knows what it's like to be
a designer herself. Another class I recommend
is I'm a pharmacist, Yes, you can draw where she shares a bunch of exercises
that can help you loosen up and really have fun with discovering what
you're storing style is. And you can experiment
with different media. She's not really specific
about what kind of medium you need to use to draw in my personal favorite
mapping life, where she manages to capture her emotions and tell
a story through a map. I'm obsessed with maps. So this was a really fun
project for me to do. Even went back to my
fourth-grade self and went through the
different phases. I went to map that out
with another class. I highly recommend storm
forces sweet spot, where it shows you how to make lovely little illustrations
with big impact. Now who shows you how to go from the sketch process all the
way to the final product. And these little
illustrations can be used in publications
of various kinds. Finally, I want to show Smith issues graphic
design for beginners, where he teaches
absolute beginners have to follow
exercises that can show you the basics of Adobe Illustrator and help
you make lovely posters. And even though I've been using Adobe Illustrator for years, this class was a really
good refresher for me. That was really fun for me. And I hope that you guys
can take some value from these different lessons
that I've shared with you. And just explore your art style and your feelings who aren't. See you in the final lesson.
12. Final Thoughts: You've made it and we are
at the end of the line. I hope you had just as much fun revisiting your
memories as I did. Now, whatever state you
stopped out whether you've completed
the illustration or probably stopped at
the place where you check out these
different stimuli or make a color palette. I hope that you can
share your project with us in the project section, maybe you can write a short
paragraph where he talked about the location and the time, the year where this
memory is from. And we can all visits these
memories with each other. If you want to share it with
your friends even better, I would love for this to be a point of connection for you, maybe a point for you to revisit your
relationship and talk about times that have passed and the memories you've
shared together. In my case, I reconnected with an old friend of mine that
I knew in Saudi Arabia. Now she's in Pakistan,
she's married, has a kid, and we were
bonding over this memory. The picture that I sent to her, which we took in
that field trip day. We took this big bus, all of us girls, some of them were my
sister's classmates, my classmates, girls
from other grades. And it was just this
really fun trip to a historical site that
we were like, oh my, this house is haunted
and we made up this entire time dish scenario where we were trying
to make it even more exciting than it really is. This picture doesn't
really capture everything that we
experienced that they, but it's just a snapshot of this memory that
we all shared. I hope that this project or these prompts that I
shared with you would be a point off the reconnection
with some of your friends or loved ones that
you've probably not as close as you were with. Now you can follow me here
on Skillshare checkout, the class that I've
got on sand animation. This includes some of the basics of what it is like
to draw with sand. And there are other
products that I'm really excited to be sharing
with you soon. You can also check out
my work on Instagram, on YouTube and say hi, drop a comment somewhere. Let me know that
you've come from here. Thank you for joining me
here. See you when I see you.
Winta Assefa, Architect & Visual Communicator
