Add transcription for: [Eground.pro] Lesson 07.wav

transcriptions/[Eground.pro] Lesson 07_transcription.json

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+{
+  "text": " Hello everyone! This is the next lesson of our course in which we will cover the topic of scene. And by scene I mean some space in the frame. We will find out what scene types there are, how they differ, how they are created, and then we will move on to practice. As you have already been drawing the exterior of your dream house in the two previous lessons on Isometry and Adobe Illustrator. In this lesson, we will draw the interior. And we will draw it for our character, that beautiful stranger from the lesson about creating a character. So where do we start? First, let's focus on the types of scenes. I can point out several major ones. The first one is the interior scene, a scene that demonstrates the interior of a room, an object, or anything else. The characteristic feature of this type is limited space, be it a room, a hangar, or the insides of a blood vessel. The exterior scene, contrary to the interior, demonstrates the external space of a building or object. This type is characterized by open space, be it a street, an ocean, or even outer space. The abstract scene is a scene with abstract space. You can draw any objects, characters or character parts that may disregard the laws of physics and logic, for realism does not matter much in this type compared to the previous two. Next is the Infographics Scene. This type serves to display any information as a diagram, graph, etc. And finally, the Hybrid Scene. This type is a hybrid of those mentioned above. For example, we can place infographics in an interior scene or an exterior in an abstract scene. Now, let's take a closer look at each type. We will analyze the first four types in detail for their independent of each other and we'll skip the fifth as it combines the properties of the previous four. So let's get started. This type of scene is most commonly used in an illustration when you need to draw a room for some character. This enables an illustrator to complete a story and the character's image by showing the context they are in and the object they use. The environment characterizes each of us after all. It can be either obvious things or hidden details. A guitar in the open or a little mess on the table, for example. the video right now and take a look around if you are in your room or at your workplace. All those things around you can tell something about you. If you visit someone's home, the interior can tell you some story about different aspects of the personality of those who live there. So the viewer can pay attention to details and grasp even more information about the character you are describing, however small or insignificant the details are. Let's take a look at a real task. I had to draw a character in his room for one commercial. This video was about acne medicine. The character was introduced to demonstrate this medicine. This means he has problem skin, and we need to let the viewer know about it. How can we do that? There are two options. The first is to simply tell the viewer about it or to make subtitles or both simultaneously. But this method is not entirely effective and is quite trivial. We need to let the viewer understand what kind of person the character is. The second option is to describe our character to the viewer through the environment. It can tell us about the habits, hobbies and lifestyle. First, let's just look at the room and the character. Now let's imbue the environment with a story. The very first thing we need to do is to make the room cozy, showing that someone lives there. Let's add furniture, curtains, and a carpet on the floor. You can put an abstract picture on the floor. These are just small things showing that someone lives in the room. I will also place a plant on the windowsill, which will emphasize it even more. Next, let's tell the viewers some things about the character, not about his skin problems, but just what kind of person he is. As the character is playing at the moment, let's stress that he is an avid gamer by by filling his shelf with game CDs and cartridge cases. This will emphasize his passive lifestyle. Next, let's add a Samurai sword on top of the shelf and a guitar on the rack, thereby showing his fond of music. Let's also put a speaker on the shelf. Now, let's add a furry companion watching the owner playing. And now, let's proceed to the bad habits that resulted in the character's problems with the skin. We need to stress that he does not take care of his hygiene, does not eat well and is not very active, which may cause health problems. He smokes as well, which additionally affects his skin. Let's add details that will show this. Let's think logically. If the character is lazy, he does not clean his room, so you need to scatter some garbage around the floor. It is mostly packages from fast food deliveries. This means he does not eat healthily. Now, let's add an ashtray with cigarette ends, which shows that he smokes right in the room. And you can also add a robot vacuum cleaner and slippers on the floor, where there is no carpet. Finally, let's fill in the empty shelves in the closet. And now, know that we have turned a featureless character into one with a story through things that surround him. So a short video frame can tell a lot about this guy and the viewer will understand why he has problems and why he needs the medicine advertised in the video. The exterior scene is usually drawn to show the exposition of a place where a video takes place, be it a certain country or just some city or a suburban village or any outdoor space. Until the first frame of a video where the plot normally begins with a general exterior view of a place where the action of the video takes place. This is done when it is important to tell the viewer where everything is happening. In other cases, there is no particular reason for this, and you yourself may decide on the scene your video will start with. But exterior isn't intended only for an exposition. It can also be a source of information about characters. For example, look at the isometric dream house you drew earlier for your home assignment. I specifically urged you to create your own dream house, neither to draw an abstract one nor to copy mine. Such a house can tell a lot about your personality. Among the works, I encountered both realistic and fairytale houses. They differed in size, meaning one prefers a spacious house and another, a simple and comfortable one. Let's imagine that we need to draw a city. We want to use a perspective for this. In the city center, there is a district consisting of skyscrapers. According to the plot, we need to show that this area towers over the rest of the city, dominating over it heavily. Let's just try to make the buildings higher. The district seems simply higher so far. This may be because the houses behind the island are far from this area and therefore they seem smaller. What else can we do? To simplify the task, let's leave one building and remove all the details from it. Now we will be adjusting its shape so that it seems very high. Let's draw it in perspective as if we are looking at it from below. Does it seem higher now? Actually yes. But let's compare the real size of the buildings. As you can see, they are of the same height. So do we need to redraw the entire illustration and perspective to solve this issue? No, we will not complicate things. We will create an illusion instead. Let's get back to our city. Select the skyscrapers with the bounding box. Narrow it down at the top. We can already see the effect, but it looks strange for some reason. Let's leave one skyscraper again. Pay attention to its site that goes deep into the scene. It has no details. This is quite important. It should not have details. Place windows only on the front side so that we won't have any difficulties in the future. Now let's take the site and move this corner down. Now this building seems to be in perspective. But we have not created a perspective. Yes, this is just an illusion. Let's bring back the rest of the houses and repeat everything with them. Now let's take a look at the before and after versions. And here is a real-life example. In this case, all the buildings and the frame are drawn using this method. This method can also be applied in other situations. For example, I used it in a commercial project for Ono. Note how huge the wall behind the character seems due to this effect. it was done for no specific reason exclusively for aesthetic purposes. Now let me show you how to do this in Illustrator. Let's open our city in Adobe Illustrator. With the help of Selection Tool, select all the skyscrapers and make them higher using the bounding box. Next, press E to enable Free Transform Tool, select the Perspective Distort mode and narrow the top of the bounding box. Then, select Direct Selection Tool and move the corresponding corners of the skyscrapers down. That's all. As you can see, we have easily and simply achieve the desired effect. This type of scene is my favorite. It implies drawing some fictional place where you yourself can determine the laws of physics and logic. Thus, you are the creator of this world and can neglect every aspect of the real world. Pure imagination. The only rule is that there are no rules. Unfortunately, this type is the most common one among explainer videos, for each company wants to show some advantages through graphs and different indicators. I say unfortunately, because I consider it boring to draw some kind of infographic that just shows some numbers and graphs. But still, if the task allows you, be creative and draw creative scenes even with infographics. Thus you can improve the project and attract the viewer's attention with an entertaining picture. Let's move on to the practical part of the lesson. As I have said earlier, we will sketch a room for our beautiful stranger in this part, completing her story and image. We will draw a sketch in this lesson as you also need to keep on developing your sketching skills. But first, we need to understand how we will portray the room. There are four ways. We can use perspective, isometry, parallel projection or paper perspective. Paper perspective is an informal definition. It is something new. What is it? Let's stop and talk about it in detail. Before we move on to it, I will demonstrate to you what parallel projection is. You can see a surface with objects located on it. They are located on one horizontal line, which is the upper border of the floor. Now take a look at the example with perspective. It is the one point perspective in this case. Know that the farther the objects are, the smaller they are. Besides, they are not located on the same line. But rather as they go deeper into the scene, the objects move up relative to the frame, unlike in the parallel projection. Now let's move on to the paper perspective. Let's take a scene from a frame drawn in the usual perspective. And then, let's place the objects into the scene the same way as they are drawn in the parallel projection. Since the pyramid should stand farther in the scene than the cube, let's move the The pyramid farther along the surface it stands on, following the rules of perspective. Following the same rules, let's make the pyramid smaller, for it is farther from the viewer now. Next, let's rotate the camera a bit. Note that the objects have changed only their position, unlike in the usual perspective. In the case of the usual perspective, the objects would completely change their look when you rotated the camera. Why is it so? These objects are flat in paper perspective. It is similar to a panorama book. When you open it, you get some three-dimensional scene, but the objects in it are flat shapes, so this is why I call this method the paper perspective. Let's return to the scene in the paper perspective and place a character into it. Pay attention to the feet. They are on the same level as those of the character drawn in parallel projection. In this case, the character can move along the level he stands on along the horizontal line. But if he goes the other way, the viewer will immediately notice the contradiction between the flat character and the three-dimensional scene. So do not do that. So when you start drawing a scene of any type, you should choose only one of the four options. We will stick to the parallel projection for this sketch. Now let's finally get down to practice. As I have said earlier, we will sketch the room of our beautiful stranger or rather her workplace. Let's first think of her personal features which we will convey through the interior. So who is our beautiful stranger? Let her be a romantic. She also writes articles for various periodicals. It is her main source of income. Her character is very pedantic and does not like a mess. Moreover, she has realized her dream and lives by the sea. Now let's draw her work place. Know that we will draw a sketch using the grid created in the lesson on Composition. The borders of the frame, however, are slightly smaller than the outline of our file. This allows us to draw outside the frame, if needed. In the middle of the workplace, there will be a table with a laptop she uses to work on her articles. First, let's draw a table. Then draw a laptop on it. Don't bother too much about uneven lines. This is just a sketch. Well, I will just use the tool to draw even lines. Next, let's draw a window. It will be a stained glass window divided into a large number of separate glasses. First, divide it in half and then divide the halves in two more halves. Let's make the dividers thicker. And then, draw horizontal glass dividers. Next, let's draw a chair our stranger will sit in. So the chair is ready. And now, draw the armrests. The basis of our workplace is ready and one can already work here. This workplace tells absolutely nothing about its owner, though. So let's add details that will tell the viewer our character's story. First, let's make it cozy and add details that will hint that the workplace is regularly used. Let's make the finished part translucent and draw the new details on a new layer. First draw a mug. It's steaming, showing that a hot drink has been poured into it recently. Next, draw a pencil box with various stationary items in it. First, draw a pencil and a pen next. After that, we will draw scissors. Let's draw a table lamp. I will draw the same lamp as I drew in the first lesson on sketching. Let's erase the areas of the old layer which are overlapped by new objects. Make the first layer opaque again. Let's merge both layers. Let's create a new layer and proceed to add details. The curtains are next. We have drawn our rectangular basis and now let's add details to it. Add the folds at the bottom of the curtains. Next, let's remove the unnecessary details and add the fold lines. Now let's duplicate the layer and move the second curtain to the left side of the window. it symmetrically if possible and merge them both. Now let's remove the overlapping areas of the sketch. Make the layer opaque again and merge the two layers. Basically, we have already created a cozy workplace. But let's tell the viewers more about the owner. Since she writes articles for various periodicals, she clearly has some deadlines and she should keep track of time. So let's add a calendar on the wall to the right of the window. in an area for a picture and an area for four months. The rest of the month will be on another page of the calendar. Let's add the ropes the calendar hangs on. Next let's draw a landscape that will fill this picture area. Let's add a Polaroid photo to the left of the window. Our character takes them on her vacations or business trips when she writes articles. She takes them to capture any details of her trips or to use them in an article. Do not worry if the photos are of different sizes. When drawing the final illustration, you will be able to resolve the issue by copying objects. Do not forget the pins with which these pictures are pinned to the wall. Now, let's add a plant at the right bottom corner. First, draw a pot and then a plant. Draw the shape and work on its details further. the dark areas. Let's draw the landscape outside of the window now. For this, reduce the opacity of the layer, create a new one and draw a horizon line. Next, draw a coastline. a small hill on the horizon and a lighthouse on it. Let's add details to the lighthouse to make it even more easily recognizable. Draw the sun. Next let's add clouds. There are only a few of them to show that the D is clear. And for the scale, let's add large clouds on the horizon. From the one side and the other. Finally, let's draw a small sailing boat on the horizon. The base is first, then the mast, and two sails on both its sides, and a small flag at the top. Let's erase the details that are overlapped by the window. Finally add the sun glare on the water surface. Let's add the final details to our sketch. First finish the Polaroid photos. Add details to the laptop, shade the frames, draw an open editor and its bottom menu. Let's draw a title for an article and a few lines. This shows that our character has started working. the chair as well. Note that the border of our frame is slightly smaller than the file size. If we hide our grid, there will be no border on the sketch. So let's add it to our sketch layer. Like this. And now, if you hide the grid, this border remains. Now hide all the unnecessary layers. Click Save As, select the PNG format and click Save. Okay. And now, if you open the folder with the sketch, you will see that it is saved as a.png file without a background. You will be able to upload it to Adobe Illustrator and draw the illustration in vector further. In conclusion, I want to recommend you get more practice in sketching. Besides, when you draw a scene, intentionally create a context for further actions of the plot. Tell stories about characters, places and situations through the environment. Keep practicing and good luck!",
+  "segments": [
+    {
+      "text": " Hello everyone! This is the next lesson of our course in which we will cover the topic of scene. And by scene I mean some space in the frame. We will find out what scene types there are, how they differ, how they are created, and then we will move on to practice. As you have already been drawing the exterior of your dream house in the two previous lessons on Isometry and Adobe Illustrator. In this lesson, we will draw the interior. And we will draw it for our character, that beautiful stranger from the lesson about creating a character. So where do we start? First, let's focus on the types of scenes. I can point out several major ones. The first one is the interior scene, a scene that demonstrates the interior of a room, an object, or anything else. The characteristic feature of this type is limited space, be it a room, a hangar, or the insides of a blood vessel. The exterior scene, contrary to the interior, demonstrates the external space of a building or object. This type is characterized by open space, be it a street, an ocean, or even outer space. The abstract scene is a scene with abstract space. You can draw any objects, characters or character parts that may disregard the laws of physics and logic, for realism does not matter much in this type compared to the previous two. Next is the Infographics Scene. This type serves to display any information as a diagram, graph, etc. And finally, the Hybrid Scene. This type is a hybrid of those mentioned above. For example, we can place infographics in an interior scene or an exterior in an abstract scene. Now, let's take a closer look at each type. We will analyze the first four types in detail for their independent of each other and we'll skip the fifth as it combines the properties of the previous four. So let's get started. This type of scene is most commonly used in an illustration when you need to draw a room for some character. This enables an illustrator to complete a story and the character's image by showing the context they are in and the object they use. The environment characterizes each of us after all. It can be either obvious things or hidden details. A guitar in the open or a little mess on the table, for example. the video right now and take a look around if you are in your room or at your workplace. All those things around you can tell something about you. If you visit someone's home, the interior can tell you some story about different aspects of the personality of those who live there. So the viewer can pay attention to details and grasp even more information about the character you are describing, however small or insignificant the details are. Let's take a look at a real task. I had to draw a character in his room for one commercial. This video was about acne medicine. The character was introduced to demonstrate this medicine. This means he has problem skin, and we need to let the viewer know about it. How can we do that? There are two options. The first is to simply tell the viewer about it or to make subtitles or both simultaneously. But this method is not entirely effective and is quite trivial. We need to let the viewer understand what kind of person the character is. The second option is to describe our character to the viewer through the environment. It can tell us about the habits, hobbies and lifestyle. First, let's just look at the room and the character. Now let's imbue the environment with a story. The very first thing we need to do is to make the room cozy, showing that someone lives there. Let's add furniture, curtains, and a carpet on the floor. You can put an abstract picture on the floor. These are just small things showing that someone lives in the room. I will also place a plant on the windowsill, which will emphasize it even more. Next, let's tell the viewers some things about the character, not about his skin problems, but just what kind of person he is. As the character is playing at the moment, let's stress that he is an avid gamer by by filling his shelf with game CDs and cartridge cases. This will emphasize his passive lifestyle. Next, let's add a Samurai sword on top of the shelf and a guitar on the rack, thereby showing his fond of music. Let's also put a speaker on the shelf. Now, let's add a furry companion watching the owner playing. And now, let's proceed to the bad habits that resulted in the character's problems with the skin. We need to stress that he does not take care of his hygiene, does not eat well and is not very active, which may cause health problems. He smokes as well, which additionally affects his skin. Let's add details that will show this. Let's think logically. If the character is lazy, he does not clean his room, so you need to scatter some garbage around the floor. It is mostly packages from fast food deliveries. This means he does not eat healthily. Now, let's add an ashtray with cigarette ends, which shows that he smokes right in the room. And you can also add a robot vacuum cleaner and slippers on the floor, where there is no carpet. Finally, let's fill in the empty shelves in the closet. And now, know that we have turned a featureless character into one with a story through things that surround him. So a short video frame can tell a lot about this guy and the viewer will understand why he has problems and why he needs the medicine advertised in the video. The exterior scene is usually drawn to show the exposition of a place where a video takes place, be it a certain country or just some city or a suburban village or any outdoor space. Until the first frame of a video where the plot normally begins with a general exterior view of a place where the action of the video takes place. This is done when it is important to tell the viewer where everything is happening. In other cases, there is no particular reason for this, and you yourself may decide on the scene your video will start with. But exterior isn't intended only for an exposition. It can also be a source of information about characters. For example, look at the isometric dream house you drew earlier for your home assignment. I specifically urged you to create your own dream house, neither to draw an abstract one nor to copy mine. Such a house can tell a lot about your personality. Among the works, I encountered both realistic and fairytale houses. They differed in size, meaning one prefers a spacious house and another, a simple and comfortable one. Let's imagine that we need to draw a city. We want to use a perspective for this. In the city center, there is a district consisting of skyscrapers. According to the plot, we need to show that this area towers over the rest of the city, dominating over it heavily. Let's just try to make the buildings higher. The district seems simply higher so far. This may be because the houses behind the island are far from this area and therefore they seem smaller. What else can we do? To simplify the task, let's leave one building and remove all the details from it. Now we will be adjusting its shape so that it seems very high. Let's draw it in perspective as if we are looking at it from below. Does it seem higher now? Actually yes. But let's compare the real size of the buildings. As you can see, they are of the same height. So do we need to redraw the entire illustration and perspective to solve this issue? No, we will not complicate things. We will create an illusion instead. Let's get back to our city. Select the skyscrapers with the bounding box. Narrow it down at the top. We can already see the effect, but it looks strange for some reason. Let's leave one skyscraper again. Pay attention to its site that goes deep into the scene. It has no details. This is quite important. It should not have details. Place windows only on the front side so that we won't have any difficulties in the future. Now let's take the site and move this corner down. Now this building seems to be in perspective. But we have not created a perspective. Yes, this is just an illusion. Let's bring back the rest of the houses and repeat everything with them. Now let's take a look at the before and after versions. And here is a real-life example. In this case, all the buildings and the frame are drawn using this method. This method can also be applied in other situations. For example, I used it in a commercial project for Ono. Note how huge the wall behind the character seems due to this effect. it was done for no specific reason exclusively for aesthetic purposes. Now let me show you how to do this in Illustrator. Let's open our city in Adobe Illustrator. With the help of Selection Tool, select all the skyscrapers and make them higher using the bounding box. Next, press E to enable Free Transform Tool, select the Perspective Distort mode and narrow the top of the bounding box. Then, select Direct Selection Tool and move the corresponding corners of the skyscrapers down. That's all. As you can see, we have easily and simply achieve the desired effect. This type of scene is my favorite. It implies drawing some fictional place where you yourself can determine the laws of physics and logic. Thus, you are the creator of this world and can neglect every aspect of the real world. Pure imagination. The only rule is that there are no rules. Unfortunately, this type is the most common one among explainer videos, for each company wants to show some advantages through graphs and different indicators. I say unfortunately, because I consider it boring to draw some kind of infographic that just shows some numbers and graphs. But still, if the task allows you, be creative and draw creative scenes even with infographics. Thus you can improve the project and attract the viewer's attention with an entertaining picture. Let's move on to the practical part of the lesson. As I have said earlier, we will sketch a room for our beautiful stranger in this part, completing her story and image. We will draw a sketch in this lesson as you also need to keep on developing your sketching skills. But first, we need to understand how we will portray the room. There are four ways. We can use perspective, isometry, parallel projection or paper perspective. Paper perspective is an informal definition. It is something new. What is it? Let's stop and talk about it in detail. Before we move on to it, I will demonstrate to you what parallel projection is. You can see a surface with objects located on it. They are located on one horizontal line, which is the upper border of the floor. Now take a look at the example with perspective. It is the one point perspective in this case. Know that the farther the objects are, the smaller they are. Besides, they are not located on the same line. But rather as they go deeper into the scene, the objects move up relative to the frame, unlike in the parallel projection. Now let's move on to the paper perspective. Let's take a scene from a frame drawn in the usual perspective. And then, let's place the objects into the scene the same way as they are drawn in the parallel projection. Since the pyramid should stand farther in the scene than the cube, let's move the The pyramid farther along the surface it stands on, following the rules of perspective. Following the same rules, let's make the pyramid smaller, for it is farther from the viewer now. Next, let's rotate the camera a bit. Note that the objects have changed only their position, unlike in the usual perspective. In the case of the usual perspective, the objects would completely change their look when you rotated the camera. Why is it so? These objects are flat in paper perspective. It is similar to a panorama book. When you open it, you get some three-dimensional scene, but the objects in it are flat shapes, so this is why I call this method the paper perspective. Let's return to the scene in the paper perspective and place a character into it. Pay attention to the feet. They are on the same level as those of the character drawn in parallel projection. In this case, the character can move along the level he stands on along the horizontal line. But if he goes the other way, the viewer will immediately notice the contradiction between the flat character and the three-dimensional scene. So do not do that. So when you start drawing a scene of any type, you should choose only one of the four options. We will stick to the parallel projection for this sketch. Now let's finally get down to practice. As I have said earlier, we will sketch the room of our beautiful stranger or rather her workplace. Let's first think of her personal features which we will convey through the interior. So who is our beautiful stranger? Let her be a romantic. She also writes articles for various periodicals. It is her main source of income. Her character is very pedantic and does not like a mess. Moreover, she has realized her dream and lives by the sea. Now let's draw her work place. Know that we will draw a sketch using the grid created in the lesson on Composition. The borders of the frame, however, are slightly smaller than the outline of our file. This allows us to draw outside the frame, if needed. In the middle of the workplace, there will be a table with a laptop she uses to work on her articles. First, let's draw a table. Then draw a laptop on it. Don't bother too much about uneven lines. This is just a sketch. Well, I will just use the tool to draw even lines. Next, let's draw a window. It will be a stained glass window divided into a large number of separate glasses. First, divide it in half and then divide the halves in two more halves. Let's make the dividers thicker. And then, draw horizontal glass dividers. Next, let's draw a chair our stranger will sit in. So the chair is ready. And now, draw the armrests. The basis of our workplace is ready and one can already work here. This workplace tells absolutely nothing about its owner, though. So let's add details that will tell the viewer our character's story. First, let's make it cozy and add details that will hint that the workplace is regularly used. Let's make the finished part translucent and draw the new details on a new layer. First draw a mug. It's steaming, showing that a hot drink has been poured into it recently. Next, draw a pencil box with various stationary items in it. First, draw a pencil and a pen next. After that, we will draw scissors. Let's draw a table lamp. I will draw the same lamp as I drew in the first lesson on sketching. Let's erase the areas of the old layer which are overlapped by new objects. Make the first layer opaque again. Let's merge both layers. Let's create a new layer and proceed to add details. The curtains are next. We have drawn our rectangular basis and now let's add details to it. Add the folds at the bottom of the curtains. Next, let's remove the unnecessary details and add the fold lines. Now let's duplicate the layer and move the second curtain to the left side of the window. it symmetrically if possible and merge them both. Now let's remove the overlapping areas of the sketch. Make the layer opaque again and merge the two layers. Basically, we have already created a cozy workplace. But let's tell the viewers more about the owner. Since she writes articles for various periodicals, she clearly has some deadlines and she should keep track of time. So let's add a calendar on the wall to the right of the window. in an area for a picture and an area for four months. The rest of the month will be on another page of the calendar. Let's add the ropes the calendar hangs on. Next let's draw a landscape that will fill this picture area. Let's add a Polaroid photo to the left of the window. Our character takes them on her vacations or business trips when she writes articles. She takes them to capture any details of her trips or to use them in an article. Do not worry if the photos are of different sizes. When drawing the final illustration, you will be able to resolve the issue by copying objects. Do not forget the pins with which these pictures are pinned to the wall. Now, let's add a plant at the right bottom corner. First, draw a pot and then a plant. Draw the shape and work on its details further. the dark areas. Let's draw the landscape outside of the window now. For this, reduce the opacity of the layer, create a new one and draw a horizon line. Next, draw a coastline. a small hill on the horizon and a lighthouse on it. Let's add details to the lighthouse to make it even more easily recognizable. Draw the sun. Next let's add clouds. There are only a few of them to show that the D is clear. And for the scale, let's add large clouds on the horizon. From the one side and the other. Finally, let's draw a small sailing boat on the horizon. The base is first, then the mast, and two sails on both its sides, and a small flag at the top. Let's erase the details that are overlapped by the window. Finally add the sun glare on the water surface. Let's add the final details to our sketch. First finish the Polaroid photos. Add details to the laptop, shade the frames, draw an open editor and its bottom menu. Let's draw a title for an article and a few lines. This shows that our character has started working. the chair as well. Note that the border of our frame is slightly smaller than the file size. If we hide our grid, there will be no border on the sketch. So let's add it to our sketch layer. Like this. And now, if you hide the grid, this border remains. Now hide all the unnecessary layers. Click Save As, select the PNG format and click Save. Okay. And now, if you open the folder with the sketch, you will see that it is saved as a.png file without a background. You will be able to upload it to Adobe Illustrator and draw the illustration in vector further. In conclusion, I want to recommend you get more practice in sketching. Besides, when you draw a scene, intentionally create a context for further actions of the plot. Tell stories about characters, places and situations through the environment. Keep practicing and good luck!"
+    }
+  ]
+}