Transcripts
1. In the steps of Warhol Create awesome animal images in Photoshop : Hello, I'm Helen Bradley. Welcome to this Graphic Design for Lunch Class, Warhol-inspired, colorful animal images in Adobe Photoshop. Graphic design for Lunch is a series of classes that teach a range of tips and techniques for creating designs and for working in applications such as Illustrator, Photoshop, and Procreate. Today we're looking at re-creating an effect that was produced by Andy Warhol in a series of prints that he did. There were 10 prints, and they were an endangered species series. What we're going to do is dissect the images themselves and work out how in Photoshop that we can reproduce this effect. They're going to be heaps and heaps of techniques and tips in this particular video. Now as you're watching the videos, you're going to see a prompt which asks if you would recommend this class to others. Please, if you are enjoying the class and learning from it, would you do two things for me? Firstly, answer yes, that you would recommend the class, and secondly, write just a few words about why you're enjoying this class. These recommendations help other students to see that this is a class that they too might enjoy and learn from. If you'd like to leave a comment or a question, please do so. I read and respond to all of your comments and questions, and I look at and respond to all of your class projects. If you're ready, let's get started. We're going to explore the endangered species series. We're going to pull the images apart and then recreate them in Photoshop.
2. Pt 1 Dissect the Warhol Art: Before we get started with this class, let's have a look and see what it is that we're trying to reproduce. These are four of the ten images that Andy Warhol produced in his endangered species series. We're going to look at reproducing the ram in this case, but you could do the same thing with any one of these images. When we're looking at the ram in particular, we're going to look at some of the things that we need to do here. Firstly, we are going to start with a photo and we're going to need to re-color it. We want colors like gold, blue and green in here over the photo, but we also want some texture in this image as well. They're going to be a couple of the challenges that we face. The other thing that we need to do is to pull some lines out of the photo. I'm going to show you a technique for doing just that. It involves a whole series of little steps. I'm going to explain to you the reasoning for each of these steps as we go along. Some of the tools that we're going to be using will be of use to you when you're creating other images and other effects in future. This is what we're going to look at doing, and this is the image we're going to use. I'm going to give you the download link. It's an image of a ram, again in portrait as the Andy Warhol one was, and it'll give us some foundation for creating our image. Go ahead and download this image. There is link to it in the project description, and then we'll start in the next video in Photoshop with that image.
3. Pt 2 Extract the head: I've gone ahead and downloaded, and opened the sheep image or the ram image in Photoshop. We're going to go ahead first of all with the crop tool. I'm going to target the crop tool. I'm going to crop this so it's a little bit more of a landscape orientation image. I'm going to come in a little bit closer to the nose of the ram, a little bit closer to the back of its neck, and I'm just going to click the check mark here. I'll press control or command zero to zoom in. What that does is it fills the screen with the image without distorting it in any way. What we need to do now is to isolate the ram. What I'm going to do, is I'm going to use the Magnetic Lasso Tool. The edges around this image are fairly distinct, and so the magnetic lasso tool is probably going to do a pretty good job. With it targeted, all we need to do is to just start dragging over the edges in the image. We're just watching where the lasso tool goes, and if it doesn't go in the right spot then we're just going to press the backspace key, until we delete these existing points, and then you can start coming back again. If it really won't go in the right place, then what you can do is just click to anchor it. You can pick your own point, but most of the time I'm just running around the edge, just holding the mouse and letting Photoshop find the edges. Only when it really can't find an edge, I might just giving it some indication as to where that edge might be. Again backspace. Here I need to click to find the edge, and again backspace. Down here I might need to give it a bit of a hand and just anchor a few points, and I'll just keep on going. Now, I'm using the magnetic lasso tool because it's going to give me a fairly nice edge here, and it's pretty simple to use. Not many people use it, and thought it was probably time that we have a look at using it, because it seemed to work pretty well for this image for me. Again, just anchoring it when I need to. When we get down to the end here, things get a little bit interesting because it wants to keep doing its magnetic lasso things. What I'm going to do is just let it do that. I'm just going to go back to this starting point because at this point, I've got the sheep's face that I want. The only thing I don't have is this bottom edge here. Well, I can now switch to a different tool, such as the Rectangular Marquee Tool. I'm going to click here in the Add option because that will give me the tool in add mode. What it's doing is it's just adding to the selection as I'm dragging over the image. I could do the same thing by holding down the Shift key, but in this case I'm just setting it to add, so it's adding to the selection. Now I've got a hard edge around the edge of my image, and a nice sheep shape edge on the rest of the image. I'm going to the last [inaudible]. What I've got here is a background layer. I'm going to duplicate the background layer by dragging and dropping it onto the new icon here. I'm going to add a mask, so I'm just going to click here on the add mask icon. What that does, is it gives me a mask that is the sheep's head. Now the reason why I've used a mask, is quite simply because if I haven't got it 100 percent, then I can go and fix it. I'm thinking just around the bottom of the sheep's head here, I might want to do a bit of a fix job. I'm going to zoom in here, and I'm just going to brush this away. I'm going to the brush tool, I'm going to select a nice hard edge brush. I've got a brush that is 100 percent hardness. It's way too big so I'm using the open square bracket just to size it down. I'm going to make sure that black is selected as my paint color because I want to remove an area here, and making sure the mask is targeted so it's got the little white border around it. I'm just going to come in here and just [inaudible] underneath the chin here. If I needed to add something to the image then I would switch and use white. I could just press the X key to switch these colors or I could click here on this icon, and I could paint with white to add something to the selection, but I'm reasonably happy with this selection here. Maybe just clean up the nose just a little bit here, but I'm not going to be too fussy at this point. Control command zero to zoom back out. Now we've got our isolated head, we're ready to go ahead, excuse the pun. In the next video, we're going to start isolating those lines because that's probably the trickiest part of this entire project.
4. Pt 3 Extract the Lines: Now that we have the head isolator, what I want is a layer that really just has the head on it and none of this background. So I am going to tuck this version away just in case I need it because all the work has been done on that layer. I'm going to make a duplicate of it so that I can work on a duplicate, I'm just going to hide this version. I'm going to add a layer beneath this layer, so I'm going to click on the one below and just click "Add New Layer". That is a transparent layer, it's transparent for very good reason because if I merge this layer into a transparent layer, I'm going to get transparency where I previously had image. So I'm just going to click on this layer, right click and choose "Merge Down." I could also press Control or Command E. When I merge down, you can see that now I have a layer that has transparency on it rather than a layer that has a mask. Now we're ready to go and start extracting our lines, so the first thing that we're going to do again with this layer is let's just make a duplicate of it just in case we need it and again, turn this one off. I just like to keep a few spare layers that are untouched just in case I need them later on. Now with this layer I am going to apply what's called a median filter to it, and the reason why I do that is that it flattens the image color just a bit and it helps us extracting the lines. So I'm going to choose "Filter" and then "Noise" and then "Median". The median filter just has a radius on it and the radius is going to help us flatten the image. The larger the radius, the less detail there is in the image. We want quite a smallish radius, so I'm going to bring mine back to probably about nine or 10, just a slight flattening of the detail in the image, and I'll click "OK". Now that I've got my median filter version, my softer version of the image, I'm going to make a duplicate of it. So I'm going to take this one and drag and drop it onto the new icon, so I've got two layers identical on top of each other. Now, the process we're about to undertake is a good process for extracting lines from an image anytime you need to do it. First of all, apply the median filter to the image, then make a duplicate of it. Now, what we're going to do is invert the top version of the image. Now you can choose "Image" and then Image Adjustments" and "Invert", or you can just select it and press Control or Command I for invert, and that makes a blue black version of the image. Now we're going to set the blend mode of this top layer to color dodge, and what happens when we do that is that the image disappears. That's exactly what's supposed to happen, you're not supposed to have much, if anything, of the image at this point. The next step is to try and get some of this image back, and we do that by blurring this top layer. In blurring the top layer, what happens is that the lines start to reappear. What we're going to do is choose "Filter" and then "Blur", and then "Gaussian Blur". As you can see our Gaussian blur of 16.6 is giving me quite a lot of lines, but it's also giving me some splotchy areas, a little bit too splotchy for me. So lets just back it off. I'm going to go to about six, I just want these lines later on I want to get rid of the others, but right now I'm just taking one I can get, so I'll just click "OK". At this point we have our lines, but we do have a lot of cleaning up to do. The first thing I'm going to do is merge this down so that I can get a single image because right now what's happening is that the interaction of this layer and this layer is what's giving me the lines. I want to actually phrase that, I want to get it into a single layer. Again, right-click and choose "Merge Down" or press Control or Command A and that just sets that into a single layer all by itself. The next thing we want to do is to try and get rid of some of this softer area in the image. Now, there's a tool called the threshold tool and what the threshold tool allows you to do is to turn things into black and white. But you can choose the point at which things go to white and the point at which things go to black and that's going to help us here. So with the layer selected we're going to choose "Image" and then "Adjustments" and then "Threshold". Right now I'm seeing nothing because the threshold is in the middle, so let's start dragging it until I get some of the lines, but not all of the lines. I don't want to get too much, I'm starting to whittle back the number of lines that I have. Let's just go and see what we can achieve at this point and when I've got what I want, I can just press "OK". I'm just going to see if there's a sweetest spot here. I'm concern to keep some detail around the eye sight, I'm thinking about 234 for me it's going to be fine. So I'll click "OK". We've managed to get rid of some of these dots and the leftover bits and pieces, but not all of them. So let's go now and apply a filter and the filter is called the palette knife. That's going to smooth some of these lines, it's going to help us just a little bit. Filter, Filter Gallery. I'm going to press Control or Command Zero to put the shape in the image here so I can see everything. I'm going to palette knife, which is in the artistic group, and here it is. At this point, we'll want to adjust the settings so that we're getting some lines in the image and you can see that they're actually becoming a little bit more organic, they're a little bit round, a little bit more interesting. I'm just going to start working on this, I'm going to take my stroke size back a little bit and perhaps take the stroke detail back and maybe increase the softness. Now, I've done this a few times and I'm finding a value of something like eight for the strike size, two for the stroke detail and 10 for the softness seems to work pretty well, and I'm really pleased with these lines that I'm getting. So I'm just going to click "OK". Now, while I'm pleased with the lines I'm getting, I'm not really pleased with the dots. Well, there's a tool you can use in Photoshop to get read of small particles and it's dust and scratches. So with this layer selected, I'm going to choose "Filter" and then "Noise", I'm going to choose "Dust and Scratches" because this allows me to determine just how big the dust particles are going to be before I can remove them. Let us wind it up really big and you can see that everything is disappearing. So somewhere in here is a sweet spot that's going to keep me most of the lines I want and get rid of just some of the scratches or the little particles that I don't want. Let's see in the preview, you can see that it's reducing things quite a bit. So I'm just going to use that and just click "OK". There are other tools that you can use to try and get rid of things here and one of them is quite simply curves. Let's choose "Image" and "Adjustments" and then "Curves", this allows us to lighten the lighter areas and darken the darker areas. Again, that's getting rid of some of the littler points in the image. But we also want to darken the darkest stuff so that we don't lose too much of it. Now, your mileage may differ, you just want to see how the curves is going to work for you, whether it's actually going to help you or not. You can see that by clicking the "Preview" on and off, just see if the previous helping you in any way. I think is helping me perhaps just a little bit. Just click "OK". Threshold will also help you, you can reapply threshold because in the process of doing the dust and scratches, we've actually got a few lighter pixels and few darker pixels, well threshold again will let you move the lighter ones out of the way, keep the darker ones Image, Adjustments and then Threshold. Again, let's just see if we can remove some of those lines, I'm dragging across here to see how I am going. Let's see, well, there's certainly some dots coming in here when I turn the preview off that are not there when I turn the preview on. So again, I can click "OK". Now, the last thing that I would probably do with this is just to go and spot it at this point, we've got rid of a whole lot of stuff that we didn't want earlier, but there is probably some stuff that we still don't want. What we can do is just go to the brush tool, with a hard brush, I'm going to turn the paint into the foreground paint which is white and I'm just going to start working over these points. Anything that I don't want, I can just paint over, again, adjusting the brush size. We've got a whole lot less of things to clean up at this point than we had earlier. So you may want to just work through the image, just spotting it a little bit at this point. Now, because we've done so much work, you may want to save it at this point before we go on to the next step. I'm just going to do a bit of a cleanup job. It's probably going to take me about two or three minutes just to get rid of the worst of these little extra pieces that I don't want and then we'll go ahead into the next video.
5. Pt 4 Color the Lines: Now in the intervening time, I just removed some of the smaller dots from this image. But again, we're still working on this layer. There's another filter that I want to show you, which is really quite a fascinating filter. It's filter, other and then maximum and minimum. Now you can choose either of them. What minimum allows you to do is to set the minimum width for these lines. You can see why I took some time to get rid of the smaller of the lines because for now what we're going to be doing is increasing the width of the lines. We can do that by increasing the radius. Now it needs to only be up one or two pixels. It doesn't need to be a huge amount, but you can see that here we're thickening up the lines that we had to give us something a little bit more detailed for this ram head. Again, I'm going to just click okay. That was filter, other, minimum allows you to set the minimum so you can make things heavier, thicker. Maximum is used to set the maximum, and in that case things are going to get a little bit narrower. Depending on whether you want your lines to get thicker or thinner, which you're going to use. Now at this point, you just may want to go through and clean up a few other little dots that might have appeared when you ran that filter. I'm seeing just a few little places here that I may want to clean up, but really like that line adjustment, that line weight adjustment filter in the maximum and minimum. At this point we're pretty much done with our line extraction, but if we go back to the original, you will see that the lines are light not black. We need to make them white, and we also need to fill them with some different color. Let's see how we are going to do that? Well, firstly, I am going to extract the white here, that's a very easy thing to do. In extracting the white, what I'm going to do is go to the magic wand tool. I'm going to set the tolerance to a small value because most of this is going to be white and I'm going to turn contiguous off just in case there's some white trapped in an area. I'm just going to click in the white area and just press delete, and what's left is the black line. I'm going to control or "command D" to deselect the selection. To make these white instead of black is a very simple process. We've used the same tool already and it's the invert tool. Invert just turns things to their opposite, black becomes white. Again, control or "command I", or you can get to it from the menu, image adjustment invert. Now, it's a little hard to see the color right now. I'm going to turn back on one of the shape faces so that we can see how these lines are actually working. But we want some color in the line. Let's see how we do that. We're going to add a new fill layer above this layer and it's going to be a gradient. I'm going to choose layer, new fill layer and gradient. I'll click okay. Now the gradient that was used or colors that we're used in the original went from white to almost red. Let's go and create a gradient that is that range. I'm going to click the gradient drop-down list here and see if we've got anything that is white through orange to red. Well, I'm not seeing anything that's exactly what I want, but I can probably adapt this one. Let's just select it and then let's click on it here, because now we can adapt it. What I want is for one end to be white. I'm just going to click on this end and let's make this white. Then I want this end to be red, but it needs to go through orange to get there, let's just drag this across and then let's click here to create another one. Let's go and get a red for this. That's looking pretty good to me. I'll click okay. What I want to do is to turn this from 90 degrees to zero degrees. I want a white on this side, red on this side. I'll just click okay. Now at this point we've got a gradient filled layer over the top of some lines. The way that we can limit the gradient to just where the lines are, is to use a clipping mask. With this top layer select, I'm going to choose layer and then create clipping mask. You can also do that by holding the "control" and "alt" keys, command option on a Mac and just clicking between those two layers. That both creates and releases the clipping mask. But in this case, of course, we want to create it. We've now got pretty much the lines that we want. The next step is to go and turn the sheep's head into the colors that we want to use. That's just a little bit easier than extracting the lines was.
6. Pt 5 Color the Sheep: Now let's just recap on what we've got in the last pallet, we've got our gradient fill and our lines and then underneath that we've got a copy of the shape. This is an original shape, so it's not being altered in any way. It's just being removed from its background but we didn't apply any filters to this shape. So we're just using this layer as a copy that we can do things with. Well, the first thing I'm going to do is make a duplicate of it. So I'm just going to drag it onto the new icon. For now I'm going to turn the lines off because they are a little bit in my way. Now, we're going to flatten this image a little bit, so we're going to use the same median filter that we used earlier because what we want with this shape, is we want to get some sort of areas of flatter color into it. Again, I'm going to select it, I'm going to choose filter and then noise and then median. I find that median filter really, really useful for flattening color and for removing detail that you don't want but getting areas that are light and dark out of the image. Am going to settle for the same radius as I used before, which is about nine and click "Okay". Now we want to color this layer with a blue and gold and green and we can do that with what's called a gradient map. So we're going to add an adjustment layer, will choose "Layer", "New adjustment layer" and then "Gradient map" and will click" Okay". Let's go and get ourselves a gradient to use and we want something that's got blue and yellow and green in it. Now if you don't see all those gradients, you can click the gear icon and you can add some of the gradients that come with Photoshop but of course you can also make your own and you can edit any of these to be your own as well. I'm looking for something that might give me a head start on a sort of blue, yellow, green, this is probably the one to use, so I'm just going to click on it to select it. Now, you might be able to say that contrary to the way that Andy Warhol had his, he had blue in the darkest areas and then green in the mid tones and then yellow in the [inaudible]. We've gone the opposite way around. What I'm going to do is just click "Okay" and then I'm going to click on reverse, so that I can see how it's being applied in reverse. That's looking more like what I want, so again, I'm going to click on this because I want to start editing it. What I want is I don't want this smooth transition to be occurring, I want a very sharp transition. First, I'm going to get rid of this blue because it's not really working for me and then I have to steepen the transition between these colors and the way I do that is by clicking on the green here. I'm going to make a second green and I'm going to drag the second green pretty much on top of the yellow and now I've got a really steep transition between the yellow and the green. I'm going to do the same thing here with the blue so I'm going to add a second blue and I'm going to add this blue or drag this blue pretty much on top of the green so again, I get a state-transition. Now my transitions aren't in the right place but that's just purely a semantic issue. What I need to do now is to work out where the transitions needs to take place. Just switch those colors but it's very easy to just move them around. What I'm looking for is where I want this transition to take place and it needs to take place further over here. I'm looking for where the green and blue intersect and I'm not quite sure that I've got that right yet. Let's just try for something a little bit different. I think that's a pretty good transition between the green and the blue and now let's have a look between the green and the yellow. Again, I'm just going to start pulling this apart a little bit because I want a bit more yellow than I had, might take that back even a little bit further. You can see that you can fiddle with this gradient until you get the effect that you want. When you've done it, just click "Okay". In the last pallet, you'll see that this gradient is actually on a layer by itself, so what you can do is just click again on this to get access to the gradients off it. If it's not perfectly right, you can come back in and fix it at any time.
7. Pt 6 Add Highlights: Right now we're pretty close to what it is that we're seeking to achieve. But let's go back to the Warhol image. First wanted to show you something that we're going to attack next. You can see here that there is a little bit of detail in the ram. We're getting a little bit of detail of hair on the Rams nose. Let's go back to Photoshop and see how we might get that detail. Well, I'm going to turn off the lights, so they are giving us the color. I'm going back to my isolated head, now this was the head of the ram and it hasn't had a median filter applied to it. There's nothing here except that it's being extracted from its background. Now there's a tool that I can use to extract some of the detail from this ram, and it's called color range. So with this last select, I'm going to choose select and then color range. Now, with color range you can sample individual colors in the image. You can also select colors by red, green, blue for example and also highlights mid tones and shadow. What I'm going to do is choose mid tones, because that gives me a range side or where I can determine which bits of the image I want to select. Now the white areas are selected. So what I'm going to do is just back off the fuzziness here and I'm going to start pulling this range into the darker areas of the shape because we want this area here though I want to get some data out of. It's going to start trying to make a selection here that is going to work for me, and I can adjust the fuzziness as well. That will control what I'm about to make a selection of, and I'm particularly interested in this area here, not really totally interested in much else. Now I've got that select, I'm just going to click "Okay". Photoshop's made a selection of the image and so the marching ends are flashing here all over the place. Well, I'm going to choose "Edit Copy", and that's going to make a copy of that selected area. I'm going to add a new layer to this image. I'm going to press control or command day-to-day select the image and non-discursive paste, with edit and then paste. Now this paste has been a little bit off location. I'm not quite sure why it does that, but it's certainly not centered. I'm going to do is just pull it back over the underlying image, and I'm looking for the markers down here on the side and the bottom to tell me that I've got things pretty much in position. So I'm looking for those magenta lines to appear. We'll I've got them on the left-hand side. I'm pretty much for now going to call that good and I can adjust it a little bit by hand if I want to by pressing a down or up arrow keys. We have a layer here with some additional detail on it. I'm going to bring it above the color layers and I'm going to turn the color layers back on. Here is my additional data layer, and now I can see everything. I'm just going to move it a little bit more into position. Now because I want this detail to lighten the image, you can see here on the Warhol, there is a areas that are lighter. What I'm going to do is I'm going to invert this again, same things we've been doing all along. Just press control or command I to invert it. That's adding some lighter detail to the animal. At this point I'm just going to dial down the opacity. I can work out just how much of this I want in the image. It might be better to take your opacity back to zero and then just start walking it up until you see you're getting the result that you want. Now if you wanted both light areas and dark areas, you could do that. What you could do as come to this layer and remove any of the lightening effect that you don't want. I would just erase off this layer or add a mask to the layer. Then you could go ahead and add another layer and paste that same detail onto that layer. What you going to do is again, just move it into position. Once you've got it in position, you would then go and erase the bits, that you didn't want the areas that we use to lighten the image, we would erase those. That way we could use these darker elements to darken areas of the image. You just be selectively removing what light you don't want from this layer and removing what dark you don't want from this layer. You can lighten and darken the image with this same piece of content. Now I'm just going to lighten my image, so I'm done with that now. At this point we're going to put our lines back on. I'm just going to turn my lines back on. If we go back to the original Warhol, you'll see that the lines are actually offset. It's like they've been out of register. Back in photoshop we're going to go and get the lime layer, which is this one here, and we're just going to move it. With the move tool, I'm just going to adjust it, so it's a little bit offset from the image itself. You don't have to change the gradient field lab, because it's just being clipped to this line last, we just need to adjust the line layer and we're done there.
8. Pt 7 Finishing touches: Now to finish off, we're going to put a background behind the image, but we're going to have a slight problem with that because we've got a gradient map here that's not clipped to the layer below. That gradient map is going to affect any color that we try to add as a background. I'm going to target the Gradient Map layer and I'm going to clip it. Again, holding Control and Alt on a PC command option on a Mac, I'm just going to click here to limit the effect of this gradient map to the actual content on that layer. Now if you have trouble remembering those keystrokes, you can always just choose Layer and then create Clipping Mask. Right now it's saying release clipping mask because I've got one in place. Now we need to add a laugh our background. This layer isn't doing anything. It's just an original version of the shape. This layer is part of the image. What we want to do is to put our background between these two layers. I'm going to select the bottom most of the two layers and click to Add a New Layer. I'm going to choose Layer, New fill layer, and choose Solid Color and click Okay. Now the reason why I'm using a solid color fill layer is it allows me to adjust the color and sit on the image at the same time. I can just go ahead and select colors and just say them in place so I can determine what colors I want to use for my background. I like this dark blue effects, so I'm just going to choose that. Now if you think that your colors are not quite bright enough, you can adjust the contrast of those. What you'll do is to go to this gradient layer, select on it, and you'll choose Layer, New Adjustment layer, and then choose Brightness and Contrast. Click Okay. Now you want to clip it to the layer below, so you're going to click on this icon to clip it and then you can just start increasing the contrast. That will add a bit of contrast and also a little bit of saturation to the image. If we reduce the contrast, you can see that it's flattening those colors. Increasing the contrast will just brighten up the colors used in the shape. There is the effect that we came to create. We've created a gradient map effect on our original image and we've also learned a process for extracting lines from an image, for thickening lines up, and also for using the Palette Knife tool to extract some lines using dust and scratches. There is are the collection of tools that's really handy to have in your Photoshop arsenal. Just to be familiar with them because you just never know when you need to clean up things like dots in your image and dust and scratches will help you there. If you've got lines that you need to make thicker or thinner, then that filter other maximum or filter other minimum is a really cool tool to use. The palette knife filter is one that can round things off if you've got some angular lines, sometimes the palette knife filter can smooth them out a little bit. There's plenty of handy tools in this project that you'll be able to make use of in other projects as you work in Photoshop.
9. Project and WrapUp: Your project for this class will be to go and find an animal image. You can use this shape that I've found for you. It's downloadable from MOG File and the download link is in the class project area. Or you could go to unsplash.com and find an animal image of whatever you want to use. Then go ahead and extract the lines from the image and apply your gradient map to the image to re-color it in different ways and post an image of your completed work in the class project area. I hope that you've enjoyed this class, that you've learned things about Photoshop of which you were previously unaware. Now, as you're watching this video, you will have seen a prompt which asks if you would recommend this class to others. Please, if you did enjoy the class and you learned something from it, would you do two things for me? Firstly, answer yes to the fact that you would recommend the class and secondly, write just a few words about why you enjoyed it. These recommendations help other students to say that this is a class that they too might enjoy and learn from. Now, if you'd like to leave me a comment or a question, please do so. I read and respond to all of your comments and questions, and I look at and respond to all of your class projects. My name's Helen Bradley. Thank you so much for joining me for this episode of Graphic Design for Lunch, and I look forward to seeing you in an upcoming episode soon.
Helen Bradley, Graphic Design for Lunch™
