Zodiac Illustration: Creating A Unique Series
Course final project
A course by Silja Goetz , Illustrator
About the final project for: Zodiac Illustration: Creating A Unique Series
Zodiac Illustration: Creating A Unique Series
“We’ve reached the end of this course! I hope you have enjoyed it! Let's look back at what we have done together: We have looked at the history of the Western zodiac and we’ve seen how it changed and shapeshifted over time and continues to do so. That means that your own interpretation can be completely new and original. Think of something very personal to you, something that you’re enthusiastic about, after all, you should create a series of at least three images without losing your steam! By the way, if the Western zodiac is not your thing you can work just as well with other symbols, maybe the Chinese horoscope, or the four seasons... Before starting to get into the details of each illustration it’s important to make a plan and to establish a set of rules that will accompany you throughout. First of all, there’s the technique you want to use. It doesn’t have to be similar to mine, please play to your own strengths! Then there are a few decisions as to format, composition, and colours. The best way is to create a blueprint that can be the basis for all your later images. Now start drawing or collaging, painting, or vectorizing. Put it all together, give it colour, and meanwhile don't lose the bigger picture out of sight. Take a step back to compare the individual illustrations from time to time! The need to be coherent throughout your series will help you to know yourself and your talents better. Probably your last image is much more proficient than your first and you’ll have to go back and correct your earlier work in the end! That means you’ve made progress! As you have seen throughout the course, I started by finding an idea that moved me. What I wanted to make was a horoscope of remarkable women. With that concept in mind, I started my research, trying to marry what the projects call and my personal style. In doing so, that is where you create unique and personal projects. Being creative and looking for the right references and inspiration is important, but so is putting all those ideas in order and planning accordingly. The reference materials are collected and the general composition notions have been defined. It is now time to get to work and develop the layout of the illustration. This is the stage where you will pay attention to format, colour selection, and symmetry, among others. These are the general components of both the process and the design. You can follow my rules to go about this stage or maybe use your own. Nothing is set in stone. My layouts are ready and now it is time to draw them by hand. Pencils and the eraser are your best friends here. Lightboxes are also of great help here (they can speed up the process, so it's best if you have one).





Partial transcription of the video
“Final Project We have now reached the end of this course and I hope you've liked it. Before I go, I would love to go over what we have learned and give you some guidance for your own series. As an illustrator I see myself as a gun for hire. I usually part from somebody else's briefing or text in my day to day. A bit like a translator of thoughts into images and as it's difficult for me to work on anything out of the blue, I needed a theme to give me structure and this theme is the twelve signs of the Western zodiac. I know, I know, 12 illustrations is a lot, but worry not. There are many th...”
This transcript is automatically generated, so it may contain mistakes.
Course summary for: Zodiac Illustration: Creating A Unique Series
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Category
Illustration -
Software
Adobe Photoshop -
Areas
Digital Illustration, Storytelling, Traditional illustration

Silja Goetz
A course by Silja Goetz
Silja has always loved to draw, and with the encouragement of her parents, she kept it up and decided early on that she wanted to become an illustrator. She studied Communication Design in Nüremberg while working as an illustrator for a magazine about animals for children, along with some work for magazines like Elle and Cosmopolitan.
Silja worked as a layout designer for Allegra Magazine (Germany) for over two years, where she learned to see illustration from an art director’s perspective. After deciding she wanted to create illustrations instead of working with the work of others, she took a leap of faith and moved to Spain, where she started working as a freelance illustrator.
She has worked with press clients like The New Yorker, Elle, Vogue, Vanity Fair, Die Zeit, Outdoor magazine, and more, as well as on advertising projects for clients like Estrella Damm. Her book cover illustrations adorn the books of publishers like Penguin Random House, Harper Collins, Gräfe und Unzer, and Doubleday.
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