365 Days Of Creativity - Month 1 | Martin Perhiniak | Skillshare

365 Days Of Creativity - Month 1

Martin Perhiniak, Design Your Career

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
34 Lessons (3h)
    • 1. Welcome

      2:45
    • 2. About the course

      3:21
    • 3. Day 1 - Typographic Design (Ai) #1/365

      6:32
    • 4. Day 2 - Negative Space (Ai) #2/365

      10:38
    • 5. Day 3 - Gradient Map (Ps) #3/365

      6:25
    • 6. Day 4 - Variable Fonts (Ps) #4/365

      6:33
    • 7. Day 5 - Pattern Design (Ai) #5/365

      4:45
    • 8. Day 6 - Rule of Thirds (Theory) #6/365

      5:54
    • 9. Day 7 - Line Art (Ai) #7/365

      5:03
    • 10. Day 8 - Gradients (Ai) #8/365

      6:23
    • 11. Day 9 - Paint Over Photos (ProCreate) #9/365

      5:37
    • 12. Day 10 - Flower Wreath (Ai) #10/365

      4:05
    • 13. Day 11 - Neon Light (Ps) #11/365

      6:11
    • 14. Day 12 - Text Wrap (Id) #12/365

      6:13
    • 15. Day 13 - Hand-made Pattern (Ps) #13/365

      2:59
    • 16. Day 14 - Creative Frames (Id) #14/365

      5:45
    • 17. Day 15 - Vector Portrait (Ai) #15/365

      5:49
    • 18. Day 16 - Drawing a Dragon (ProCreate) #16/365

      5:43
    • 19. Day 17 - Halftone Effect (Ps) #17/365

      3:27
    • 20. Day 18 - Minimalist Portrait (Ai) #18/365

      4:36
    • 21. Day 19 - Wave Effect (Ps) #19/365

      2:41
    • 22. Day 20 - Gradient Line Art (ProCreate) #20/365

      2:57
    • 23. Day 21 - Pairing Typefaces (Theory) #21/365

      4:29
    • 24. Day 22 - Blend Modes (Ps) #22/365

      11:34
    • 25. Day 23 - Creative Hand Lettering (Drawing) #23/365

      6:28
    • 26. Day 24 - Hand-made Assets (Ai) #24/365

      3:16
    • 27. Day 25 - Out of Bounds (Id) #25/365

      5:18
    • 28. Day 26 - Drawing Maps (Ai) #26/365

      5:55
    • 29. Day 27 - Slicing Objects (Ai) #27/365

      3:37
    • 30. Day 28 - Circular Composition (Ai) #28/365

      6:24
    • 31. Day 29 - 3D Frames (Ai) #29/365

      6:20
    • 32. Day 30 - Ripped Effect (Ai) #30/365

      6:07
    • 33. Day 31 - Simple Logo Badge (Ai) #31/365

      5:56
    • 34. Conclusion

      0:42
20 students are watching this class

About This Class

Welcome to Your Biggest Creative challenge!

This course will teach you something new every single day for an entire year! The format will provide you with the ultimate creative challenge and a different kind of learning experience. This course is split into 12 months, each available as a separate course here on SkillShare. All videos are in numerical sequence, however you can watch them in any order you like! 

Each day you will take part in graphic design and illustration projects mainly using Adobe Photoshop, Illustrator and InDesign. We will also teach you drawing, mixed media techniques, design theory and mobile apps such as Procreate!

Each video is divided into two sections, starting with a one minute tutorial, that explains the techniques needed, which seamlessly leads into a commentary style video providing further insight into the topic.

Many of these tutorials are accompanied by a downloadable working file. Feel free to download these and practice the techniques you learnt.

Sign up to all the other months and complete the whole series:

  1. Month 01
  2. Month 02
  3. Month 03
  4. Month 04
  5. Month 05
  6. Month 06
  7. Month 07
  8. Month 08
  9. Month 09
  10. Month 10
  11. Month 11
  12. Month 12

So what are you waiting for? Let's start your creative journey today! 

Transcripts

1. Welcome: are you looking for a course that is guaranteed to help you develop your graphic design and illustration skills using Adobe Photo Shop illustrator in design and creative Absa like procreate, a course that gives you creative projects and assignments to work on every single day for an entire year and helps you to build a killer portfolio? Well, look no further. This is the one for you. I am Martin per maniac, certified adobe expert and instructor. Besides working as a professional graphic designer and illustrator for over a decade, I have filled thousands of people in classrooms, webinars, online tutorials, courses, life streams and conferences like that will be Max. Thanks for being truly passionate about both using and teaching design applications. I am proud to say that I was officially voted as one off the top 10 Adobe instructors. Having worked as a designer for clients like Disney, Mattel, Cartoon Network, Nickelodeon and BBC, I have ensured this course will help you start using for the Shope illustrator and in design like a creative professional. This course is perfect for you if you are just starting out or if yourself the wood and aiming to get confident working on graphic design and illustration projects. This is the largest online course on the platform, with over 700 video lessons and creative exercises that will motivate you to study and work on exciting and entertaining projects every day for an entire year. Studying from this course will also help you to accumulate hundreds of designs and illustrations you will be proud to include in your portfolio. If a full year off studying sounds taunting and you prefer to speed up your landing progress, you can easily cover more than one project a day and even skip a few. That doesn't fit your side. This way you can potentially finish discourse within a couple of weeks. It's a unique learning experience that you can adapt to your learning style and lifestyle so you can shape your own path, the words becoming a creative professional. Throughout this course, she will learn from me and two other designers, which ensures you will learn a variety of design administration. Stine's. We have carefully selected each example to make sure you get clear explanations without wasting time, even while we explore complex techniques. Take the next step in your career and roll on this score snail and make today the first day of your 365 days off creativity 2. About the course: through this video, I'm going to walk you through a bit more in detail. How this course is structured each day will have a project. Now, these with yours were very in content. Some off them will be actual technical exercises that you will be able to follow while others might be more theory based. What's common in all of these videos is that they will all start with a one minute introduction. This is just to get you in the mood and to understand what that topic is about. And then the video will move on to the second part where we will be going through the whole process. So it becomes more like a commentary. So you will see us talking through the techniques. What? The theory that we are covering that day, once you watch the video, was you will also be able to download the exercise files. Not all of the videos will have files, only those ones where we are going through creative projects. We recommend that you watch the full video, including the introduction and the commentary, and then download the file. You can follow along and use the same exact file. So you can practice what you've seen in the video if you have time, and if you feel like you want to practice even more, be advised that you also trying out the techniques with your own file. So whether it's an illustration or a photo you took, you can practice the same things that you've learned on those for discourse. It is recommended to have at least a basic understanding off one of the adobe applications . Don't forget to do the creative project at the end of the course. So once you've seen everything, you will find a brief that you can follow along. And based on this, you can work on a more complex project and the final result you can upload, and we will be able to give you a feedback on that so you can improve The very you are working. We have actually 11 other parts off the series so you can find them here on skier share and you can follow the same structure, work through the videos, which you can do daily or even faster if you want. And of course, each of these courses will have a creative project at the end where you can really practice everything that you've learned. This course is based on a YouTube series that we were running for a whole entire year, and we use that Siri's to get feedback from the viewers and see what they think and how each of these projects can be improved. So this course is based on that Siri's. But it's an improved and refined version off that, and obviously we cover a lot more. So while there we were only going through one minute videos. Here you have for each day, the longer extended videos and tutorials, plus including all the exercise files for some off the bays each month we even have extended version videos. So for those more complex techniques, we decided to go into even more death. So I hope this course will be inspiring and you will learn a lot from it. Make sure you go through all the creative projects and assignments to really take the most out of this course. 3. Day 1 - Typographic Design (Ai) #1/365: - so you can see that I already had a composition. And if you've seen the end result, you've seen it that I almost have all the elements in place. I was just not sure about the styling off them. I was almost 100% Children bound using for the shop illustrator and in designs colors from the icons on the 3 65 It just works well, three icons and three numbers that we can align with. Ah, and I just created a very simple three D effect, not using the three D effect from Illustrator as simply just duplicating them and just drawing in a few lines to make it look like three D. It's more like a fake three D effect, to be honest, but then you will see me really, really struggling with the effects or the style off the word days. I was trying to make it look unique or interesting at that celebration, feel to it, and also make it work with the rest of the colors. So because I already have those three quite different colors on the top, so there's not like a color theme really I can work with. That's when I found this extremely difficult. But then I started playing around with, um, blending and greedy INTs. So I used multiple elements on top of each other, as you can see, and the two Grady INTs and both blindly don't top of each other. If you look at the layers on the right side, you actually see all the elements that I create, and you can pose the video or slow it down even further if you want just to make sure you can see exactly what I'm doing that. But what's interesting is I spent around two hours on this design and Iran an hour. I raced it on exploring these different styles, and you see, I almost ended up having that really strange melted text effect. The reason that I was trying to do that is because it is quite trendy now, and a lot of designs use it. But the way I have done it, it's just not working, and especially for this design, it doesn't work. So I go on and again, try forcing different the facts like scribble and just really messing around with that word . These, but you know, this is something that is important like you have to go through different takes and then to add the end, end up with something much more simple. So the exploration and the hardships that you go through in design is something you will see in this Siri's and hopefully will inspire you to not to get stuck or give up on your designs because all of us go through this. So I really wanted to make sure that this 3 65 days of creativity Siri's will inspire you and help you to be motivated to do designs. And each day we will be exploring different designs. So from hand lettering to actual drawing or even like traditional media watercolors to obviously all these techniques in the other will be applications. So coming back to the design, the composition is now starting. Starting Teoh really come together and take shape. And then I started to introduce that bright green color, which is Ah, the same color, but with different saturation that we have in the background. So it works really well with that. Plus, I also have a darker green, um which again is in the same Hugh. So it really works well together and I ended up changing all those it Lankans at the end to that exact color because I didn't want to have too many different variations. You can see now that bright green is applied on all the little icons wherever it's necessary. And then I ended up using this effect on base. So it's a more subtle, um affect where we have, like, a little bit off offset and blending on the letters and because I wanted to really emphasize graphic design. Ah, I have all the icons, like the stylist pen tool, the colors and also images, keyboard shortcuts and the pencil as well, because, as I said, it's not only digital but traditional media as well. So hopefully this example was an interesting start off the year, and hopefully this is going to help you to learn more about not just the technical aspect of design, but also how you go through these hardships throwing through your design projects. And then, if you are persistent enough, and if you feel like ah you're confident in yourself, then you will be able to end up with a nice result. So you just have to keep working and looking for inspiration. looking for references. Discuss it with people like what I did here and won't really help me To get through that difficult bit with the days is that I asked you me, my wife and she helped me because she's a designer as well. She has a good eye and she could test Reiterate that that days a fag homework. So then I just made a change, and that's what we ended up with. So thanks a lot for listening and thanks up for joining us for this amazing creative journey and I will catch you guys in the next one. 4. Day 2 - Negative Space (Ai) #2/365: - Today we are going to talk about negative space I'm using Illustrator and a simple logo design project. Or it could be anything, really. But it looks like a local, um, to explain what negative space is and why is it important in graphic design and in generally aled visual arts? So if we are looking at the definition off negative space, there is a very good one written down. So negative space in art is the space around and between the subject off an image negative space, maybe most evident when the space around an object, another subject itself. Ah, forms and interesting or artistically relevant shape. And such space occasionally is used to artistic effect as the rial subject off an image. So using anti nous basically for showing something or expressing something is what Magothy spaces about and a very simple example in typography is when you combine negative and positive letters to form Evert. So what you see here is that I created first of all the words space, and then I turned it into outlines. The shortcut for that is command shift or control shift. Oh, and then once I have all the letters on group, so I can access them easily. One by one, I will turn P and C into negative letters simply by just inverting their colors. So whatever used to be black will become white and whatever used to be right in case off the counter the space inside the P that will become black, so inverting their colors and in in case of, for example, the sea. And also I used this technique on the P at the bottoms only at the baseline. It's ah necessary to also add a block shape behind the letter. Because if there is an open space, for example, with C, we wouldn't see everything. Anything. I mean, there's no indication of where those curves are. Eso you will see me adding erect and go behind there, so that is just going in the background. So I just moved it in the background. And then I'm just going to align, need to make sure that it fits well with the design. Now you can see at this point it's still not obvious what letter we are working with. So I decided to move the C and e further to the right, and then I just adjust that rectangle in the background. So now it starts to be more easier to read, and this is something you have to play around with. So any fun that you would pick will need a different alignment to make it work. But generally just the technique is to indicate or suggest the missing letters in with these techniques that you can see here and then it can be a very compelling and engaging design. And of course, negative space can be used not just for typography but also for illustration. And I'm sure you've seen very smart logos off, Ah, logos, relying on negative space. So sometimes they show something different in the empty area. Or they can just simply use negative space to form the whole composition. And, of course, you can use negative space also in a very simple manner. If I create a big rectangle like for the first word here Ah, fill it with black. And then I broke out my taxing toe white and keep it on top of that rectangle. Then that's already again. And negative text. Um, so it can be a simple as that, but it's really up to you. How smart you are, how well you use this technique. But just remember that the empty space in graphic design is just a Zim Porton as the positive space or the actual details off the design. So it applies to almost everything you do in design. Um and I hope this was useful explanation and an example you could see actually this created by the way, this ah tutorial took me around five minutes to the So you actually see the rial speed here the way I was creating it. Unlike the other tutorials in this Siri's, you will normally see a time lapse here. It was the actual exact time. Hi, guys are tutorial. Today was all about negative space and logos on how you can use negative space to create a really cool, really fun typographic logo, but can actually be used and applied to load two different types of logos. It's a really popular technique within design, and it's really important to be able to understand and play with space in general is a designer, so I mean, you've probably heard a lot about white space within design and making sure that everything has enough space to breathe Andi so that the viewer can understand the composition really easily. I suppose using negative space is almost like the opposite of that. You're actually using space to combine elements to suggest something to a viewer. So when? If you're unsure about where she might have seen these, check out some of these examples that are actually really big popular brands. I'm sure straight where you notice that the adobe logo actually does use negative space. But as well as this, you've got beats headphones, which I think is a really good example of really clever use of negative space. They've obviously got the B from the logo Andi that suggest beats, but put it into a circle so that the actual logo itself looks a little like a headphone. This is a really clever use of negative space, and generally it's a great way to be able Teoh define meaning within a logo on its really playful fun again, you can see the the old F one, uh, logo also used to use negative space. They recently updated their logo, but this was a great example of how two elements can fit together and then, using the next of space. They actually make a whole new element. So you can kind of see the one between the two separate elements. So that's really cool. Eso again, the think logo, which I'm sure you guys recognize from all of the adverts on billboards and that kind of thing have cleverly used negative space to split that I that so it kind of looks like there's a crossing or road in their typographic logo. So again, these, you know, these are a great example of example Sorry of how negative space can be used in a really clever way also still look very professional. The thing that you need to be careful about when using negative space on a trap that is easy to fall into is to overcomplicate it. These are all great examples because they're simple. Three Yeogu on particular is very playful, but they don't have too many elements. Teoh confuse the viewer, so we're just gonna move on. Andi, look at a few examples that probably forced the use of negative space instead of using it because it feels natural for the logo. So here we have the unique idea Unicorn lightbulb combination on, although is quite comical it. It struggles as a design element because obviously unique unicorns, that kind of thing and the idea with the light bulb, but generally it feels quite forced on just looks very unusual for a viewer. This is kind of similar with the Chew, our Dance studios logo. Whether thinking behind it, the design thinking kind of came forward because you have the feet which could also be kind of two hours ears. However again it feels quite forced. It doesn't actually sit with the rest of the logo, particularly well. It's kind of out on its own, and it's very big again. This is just another example of how negative space could have just been left didn't necessarily need to include this. They could have included the Chihuahua element in a different part of the design. So you're moving on. We also have this helping hands for pets logo. I've seen negative space use quite a lot in them, like veterinary logos or on kind of animal shelter logos, because generally the shapes off animals seem to fit quite nicely within each other. However, I feel like in this logo again, it's quite forced. There is a lot going on on. There's a lot of detail almost too much that's quite uncomfortable the way the bird kind of sits within the horse and so does the dog. And then the cat sits within the dog, and it just gets a little bit too much to understand. So I think that you guys can definitely see that less is more, especially when it comes to negative space on only use it If it really feels like it fits with your design, don't try and fit your design just to use the negative space. So, yeah, that's just day. A quick overview off great Andi Noah's great examples of how to use negative space in logos . I hope that's giving you a little bit mawr knowledge and information to be able to start applying it to your own designs on. I hope you have a great day on DSI Next time. Bye 5. Day 3 - Gradient Map (Ps) #3/365: - Today we are going to learn about a simple technique in for the shop, the Grady and Map adjustment layer and how to use it to create do tone of facts on our photographs. So again, because it's a fairly simple concept, I am going to show you life instead of relying on the time lapse used in the actual one minute version. So what I'm going to do is first will add this adjustment layer from the bottom of the layers panel. So there's the Grady in map, and it's one of my favorite adjustment lee years. I use it a lot, Um, and what you will see is that, first of all, in the Properties panel, we get a greedy int. Now, if you click on that, you can choose different Grady INTs, and there will be a few default ones like this one, which is actually already a good starting point. If you want to try that for the first time this affect, you can also choose maybe another one from this list here. But I guess the black and white would be a good one to start with. So black to white, which keeps the shadows completely black and the highlights completely white. Or you choose one of these other ones and then start tweaking it. Of course, you can save your own ingredients as well, which I actually have here already. So this is the one I use in the tutorial, but I'm going to start with the black and my just so you can see how I said this up. So what you will see me is choosing black and white. But then I double click on the little color stop underneath. Ah, the Grady End and then I pick a color. Let's say I pick a darker purple, something like that. Now, if I only have that one color, it's deal would look like a monochrome, a fact where we only have one single Hugh used on the whole of the design. But then, once we introduced the second color for the highlights, then it becomes a geo tone effect. And for the highlights, I'm going to make sure it's a nice, vivid science color, and you can, of course, experiment with different combinations of colors. You can always have a cool color for the highlights and the warmer color, like red for the shadows orange? Maybe, but I actually prefer this combination. It looks quite nice. So I'm going to end up using this purple Teoh Cyan color combination, and I am going to click. OK, so that is my Grady Int adjustment layer. But there's one last thing that I need to do, and it is, too. Have a little bit off the original details, the original skin tones and colors showing up in the image. Because if we just have it like this, it looks a little bit too muted and too dark, so to liven it up a bit, and it's works generally well, if you ever do this effect is to double click on the Grady, a map adjustment Lear and then within the blending options. You want to drag the right slider from this layer, blending options further down, and you can see if I drag it all the way down, I start to see all the original image, but that's not what I want. I want to drag it down somewhere around there, but when you will notice is that if you're just dragging down like that, it will. It means actually to have all those bright details that in this tonal range off the image in the background to start showing up. So that's actually it's perfectly fine. That's exactly what we need. But the problem is that if you use it like this is going to have a very rough edge, so it looks like noisy. And to be able to have a much nicer, smoother blending between the two layers, you need to hold on the older option keys and split that had into two. And then basically you create a range in which the transition can happen. So if I show you before and after, you will see exactly what this means. So this is before without the preview on, and this is after so just a subtle hint of the original skin tones and colors. Ah, it looks already much better. So once again, before and after and then we can further tweet this. So if I want a little bit more off those colors to show, I can't do that, and I'm once I click. OK, I can check it completely without the Grady and Map and together with it. So that's how simple it is. And if you want you can even save an adjustment layer and reuse it in your other designs. All you have to do is to click on the Grady and first and then choose new. That way you can save your actual colors. And then the actual settings that you used is a little bit more tricky to save. I would normally just have a template with this Grady and map safe PSD file. And then, since Sisi 2018 now we can copy and paste layers between documents so you can just simply call. Come on, see controversy and control Vo Coman v into your other document. You can copy this in. So that's what I wanted to show you today. And I hope you found this useful and I will see you guys in the next one. 6. Day 4 - Variable Fonts (Ps) #4/365: - in this tutorial. My idea was to show obviously spec a tree, but also to highlight or showed the advantage of working with variable funds. This is a new thing in for the shop, and I love it. It's a very useful concept for designers. So instead of struggling off finding different phones or different, ah waits for the funds. Um, what you can do is to pick a very bull phoned, and then you can fully customize the front itself. But we will get to that in a minute. Firstly, what I'm doing is to create a Grady and Map. You can see my layers as well. And this Grady and Map I used to have this jewel tone effect where we have the highlights and the shadows in different colors and similar to grading in like, Ah, film. Um, but what we get here is also an interesting part where I am working with the type and I'm messing around with the three D a fact now this is a good example. Off three D doesn't going to help or doesn't going to solve your problems and the same thing with layer styles. I'm struggling with applying strokes or Shadows or Grady INTs overlays on the tax, and it just doesn't work. So I have to rethink why I'm going to do. Also, I'm struggling with the color choices because whatever I place on top of this nicely graded color or image the photograph in the background, the textures doesn't stand out enough. So I ended up with this, and I don't like it. So I am going to redesign it completely, and I'm not even sure whether the phone is going to help. So what I'm still trying here is to work with perspective on the three D tax having that circle behind it. But then I decided that I will just go back into normal to the text, so no need for three dimensional effects. So having that placeholder or container the circle in the background, I start to feel like it's coming together because the actual photograph is also concentric , meaning that it has like a radio direction off all the pastor coming out from the center. It helps to have this central piece in there, which is also concentric, so circular and now, as you can see, I start to have a better composition already. So I ended up using this variable fund that you can see selected here. And I am using literally just one fund but applying different formatting on weight with and slammed I get three completely different looking text. So we have the happy the smart getting in the date of three words look completely different . At this point, I started to work with the colors, so I'm not 100% sure whether I like the vita background. So I am again testing things out. And it's very common that, um, you want to see how it looks, but ah, and you're playing around with different options. But if you have a good understanding off color theory in general, then you will be able to judge and tell what works and what doesn't. So I end up actually having divide background and using a very similar color on the phone to what we have in the background applied on the shadows. So that just ties the funds and the image together now enough having a stroke with the dash line on it. So I'm using a layer style for this and you can see I'm using mainly the properties panel where I can set up the stroke style. But I realized that I want to have these thoughts closer in the center. So not all the way at the edge of the circle. So I ended up creating two circles and one off which which has the stroke around. It is set to fill opacity. Zero so 0%. That way, I only see the dotted line and not the actual circle itself. And then I created a duplicate circle, which doesn't have that dotted line around it. That way I could change the distance or get a distance between the edge where the stroke would be normally and the actual edge of the circle. Now here, as you can see, I'm playing around with different effects, and I decide that I am going to resize the words as well. Plus, I also introduced an icon I love using this application or Web service called Noun Project . You can find some amazing icons from it. You will find the description. I'm in the link in the description. If you want to try it out, it's a really cool service. You can use it for free as well, but if you pay for it. It's even easier to use it. But as you can see now, we have the final result there, and I only have a subtle transparency applied on the circle. So we still see what's in the center of the image. But we have a great legibility, a good composition. And once again all these three words are exactly the same fund. It's that variable fund and just simply changing theater tributes on it. And I hope it was a useful example. I hope you learned some useful techniques from this and that I will see you guys in the next one. 7. Day 5 - Pattern Design (Ai) #5/365: - Hi guys. Issue me for me. Assuming designer on supporting my love for birds, I want to create a pattern to show movement, emotion and birth. Migrating. Um, this piece was inspired by again for your few print designers that I admire, but indecision. I wanted to talk more about the four process on Analyze why some patterns really work well . One of the key elements in repeat pattern is to ensure that the pattern look seamless and avoid block edges. So 11 of the main things I always try to look out for is to make sure I don't overlap my objects so it doesn't look too obvious in the repeat. I also like to keep some elements small a sum element, rotating them in different angles just to show a different variation on a deacon is one of my favourite pattern designer. I think our work is just amazing. Done. She does a good job in picking colors, creating great contacts between elements. Andi I think hierarchy is also quite important. We tend to automatically know the which one's the dominant character, which one is a supporting character on which runs a background character, one of the key element in pattern design is to have a hierarchy and the contrast in your design. For instance, you can tell that Anna has an a great job in having main characters. So in this case, the dress, the sewing machine, um, her main characters. But she differentiates them by using different colors or rotating the position on. I think she does a great job. She also has supporting roles. So in this case, she has the needle holder, the hangers. They're smaller elements and not as big. They don't need to be as big as the main characters, but they work really well in supporting the main character on. Then finally, all the small elements, like the pins of needles, thread there the background elements so they can be as small that you can rotate them, change the colors just to fill in the space. I also call them gap fillers. Um, another key element is also choosing a good color palette. I love the way she's chosen the pain, the green and the white, and she's kept a consistent You don't feel lost. You don't confuse. So she has a really good balance in colors. Um, she has a really good contrast in terms off the elements that she's using and over. Walsh's done a really good job, so going back into my pattern, I've done tried to do the same thing. I am also used only four different birds, and I also use color to enhance that. They are also a main character, the supporting role in this case, other smaller elements, but also big enough. And finally, I have used dinner, simple stroke buzz as a background filler on again. I avoided burst, clashing on, mixing together on the edges to give it a really cool, seamless pattern without looking very blocky. So last period, much it. So the main rule to look out for is to avoid block edges on it, to make sure that you have main characters supporting characters and background characters . I hope you enjoyed this tutorial on that. I'm looking forward to seeing what you guys come up with. Have a lovely national birthday, and I look forward to seeing you guys on the next video. Bye for now, 8. Day 6 - Rule of Thirds (Theory) #6/365: - today , we're gonna be talking about the rule of thirds, and I'm just gonna go into a little bit more detail about how it's used in how I've decided to use it in my composition today. So when very briefly if you just check out this diagram that I've made that you probably recognize from the video, it just lets you know about where to place elements within your composition to draw the viewers attention. So obviously you can see that the most important part should go in the upper left. Um, its fourth is 41% off your viewers Attention. So, naturally, you've you'll just look at that place within your composition. So obviously you want something important to go there. You don't want to put a piece of subtext or something that really doesn't matter. So yeah, each other out on just bear in mind. While I'm talking about my own composition, we might move on toe. Look at a few others that I found that I think maybe could have used the rule of thirds to get their message across a little better coming back to the composition I created for today . You can see the I kind of decided the both the illustration on the heading were equally important. Without one, without either of thes. The composition doesn't really work, eh? So what I've done is actually decided to combined the top and bottom right segment off my composition. Onda used, um together, which is something that you can definitely dio is that you can use this information however you want. So you combine. You can combine the bottom to the top two. You can use them separately. It's really up to your discretion is a designer. So I decided to use the right side of the canvas to work together because it equates to about the same as the top left. So, as you can see, I've got can't buy the code. I hope you guys getting my pun there on Ben. I've got the illustration and they they equal about the same amount. So they draw the same amount of attention, which is good in this case because they're both equally is important. I then got a spit of subtext information on the lower left piece of the canvas. Again, this is because it's not as important, but it's still a nice design element is something I wanted to include, but it's not crucial. So I've popped it there because that eyes a natural place of you look at kind of later on if you know if they decide to look at it that long. So, yeah, that's how I decided to use it. So let's have ah, just a quick look on example that I found where I felt like there all of thirds could have been utilized a little bit better. So here we have an advertisement that I found online. I'm not gonna go into where I found it, or particularly what it's for. We're just gonna look at where the elements sit within the canvas. So when, as you can see, they haven't really fought about the placement of the illustration versus the text, the illustrations actually to the left, which is kind of, you know, it's no. It doesn't really even use the rule of thirds necessarily. But that is kind of a lot closer to where your viewers main focus is going to be drawn, which, obviously, you know, it's is a cool illustration and stuff, but it's not the key information. So if they looked at it for a split second. They're not going to understand exactly why they've looked at this piece of information, which means they're probably not going to go on. Do follow one to use the product or click through on to the website, etcetera. So, really, what they wanted to do was have the key text information that's on the right in the top left. I don't know what you guys think, but for me, this composition, it doesn't communicate very quickly. Why I'm looking at it. I've kind of subtext, Red Web design trends and predictions on. I feel like that's probably a very important piece of information I should know straight away, because that's what I'm gonna get from this resource. So, yeah, I think you can kind of see going back to my little diagram that they haven't really considered where they've placed their elements. Andi, with just a little bit of rejigging, I think it could be a lot easier for a viewer to digest this because that's fundamentally the most important thing is you want your viewer to be able to digest the information that you're giving them as quickly as possible, so you're not making them work for it because, you know, as designers, that's what we want to do. We want to communicate successfully to other people, So, yeah, I mean, I hope that help you guys understand the rule of thirds a little bit better, Andi, Just generally given you a guide for starting to use it within your room. Work on. But I hope that you guys have a fantastic day on. I hopefully will be talking to you very soon. Awesome. By 9. Day 7 - Line Art (Ai) #7/365: - Theo session, we will be discussing more in depth about line art design. As you can see for my screen. Simple strike line art can create beat for intricate design. In this session, I will be discussing MAWR about fuel. My favorite line are artists such as Cats. Cork Maria on Bruno. I love all three of these illustrators. They have inspired me to give light ago for myself. Um, from looking at these examples, I want to create something that I'm passionate about. Since it's winter and it's cold, I decided to a composition on ski on winter scene. So I first civil done a sketch using lie not just to give you an example of how it looks on da Once I've got sketch, I kind of have a rough idea on how I conjoined them. So I've just simply used the shape tools in Illustrator and Pento on DA Use the shape Bilde as well. When he did, I created my ski, seen as you can see for my screen that I've kept all strike size the same on use contrasting and complementary colors to enhance my own work. So on the one minute time lapse video I've explained how you can design and create simple shapes such as Mountain. So in this session, I want to talk Maurin detail on why line art, when done really nicely, can enhance your work. First of all, I want to talk about Cat Cora. Let's work Cat Call it Work is an example of how simple line during can create amazing results. As you can tell from the work that a lot of effort and time went into this. This is amazing. I love the way that she's has a focal point on has symmetry all around her patterns. She also uses vivid colors to really make her illustration pop. I think that's that's a very important factor. Choosing a color that works Maria passed back is also another Gary example of how line art and symmetry work well together in this case, her patter in symmetrical. She has a few elements as she repeats, and most importantly, she only uses two colors. So again you don't have to go overboard with so many colors, you can keep it as minimal as you want. A one color to color works really well with line on. Bruno is also a great example of how line aren't and textures work well together. His work is also very clean and simple, and you uses very simple line out stroke. I think what stand up for him is the fact that he tends to use minimal color and uses texture on his lines and give it that rustic feel. So all three illustrators are very different in their own way. They have all inspired me to give Leinart ago. The best tip I can give for anyone who wants to give line out to go is to sketch first sketch sketch scared until you know how the shape works in your head once we have the skate is definitely easier to recreate it in Illustrator. Secondly, it's also really important that you keep your stroke size the same, so avoid having different strokes size for different elements. It will look messy, so keep your strike science the same. No matter how large or small. The element is having the same stroke size is always pleasing to the eye on finally, choose colors that pop or use complementary colors. If you're on show on how to choose colors, I've recommend for you to check out the Web. Akula. That helps you to understand more about contrasting colors and colors that work well together. I hope you guys enjoyed this session on. Found it useful. Why? No. Give Leinart to go for yourself and see how it goes. Bye for now. 10. Day 8 - Gradients (Ai) #8/365: - the theme off today, I thought, I'm going to explore Grady INTs in Illustrator because this is something that I always get questions about. Like how to use Grady INTs in Illustrator. There's so many ways you can use them, and I try to use them and also at the same time create an interesting composition. So I was struggling Cafe three days, but then I realized, what's the best way of using them so you will see what happens. Um, but first of all, you can see in the background I already have a radio Grady aunt that fades out because that's one thing you can do with radiance is instead of just adding your color stops, you can see it on the right side I'm doing in the Grady and panel. You can also assign opacity or transparency to each of those color stop so you can easily create and a transition. But no, only the colors change, but also you get a transition in the visibility so it basically fades out or fades in depending which direction you are using it in. Now the other thing you can do with radiance is to use them on strokes And that's what you see here, because that icon is just made of strokes, the actual bath. In this case, I applied a Grady and on the stroke itself. Now here I'm actually starting to build the first bubble, and I create the again radio ingredient for the field. And then I create a stroke around it, and then I use another circle with another radio, Grady int inside it to have that reflection on the bubbles surface. So once I have that ready, I start duplicating it. But then I realized that I will need more than a few of these bubbles. So instead of doing it manually, I am going to turn this bubble into a symbol. And that's something like a really cool feature in Illustrator, and whenever I can, I use it. So once you save a symbol, you can start using the symbols, prayer tool and all the different kind off symbol, drawing tools to create what you can see on my screen so you can create an array off the same object first just simply by spring it and then using that palette, which you can see, I I dragged out or expanded into a little floating palate. You can always do that. If there's multiple tools in a tool bar section, you can just click on that long a row on the right, and that brings it out into a little floating palette. That way you can access the tools much easier. So what I have here is that these tools I'm using to move these bubbles around scattered them out a bit, resize them. Also. You will see I'm going to change the opacity. So all this, by simply drawing over the instances and usually most of the symbol tools, I would give you the alternative by holding down the altar option key to do the opposite, whatever the tool is doing by default. So if, for example, you are using the symbol sizer toe, it would buy the Ford increase the size of each of those instances that you click oh, and drag over. But if you hold an altar option, you are doing the opposite and the same thing. For example, with the opacity, you can buy the fort, reduce it, but again, holding down author option. You can increase it, and here's another interesting thing. I created a graphic style. We just simply uses Go sampler. And then I used that to paint over some off the bubbles again with the symbol Styler tool. And and that really gives this interesting, almost like shallow depth of field. The fact. So some bubbles are not just faded out but also blurred out. It makes it a little bit more interesting, So don't forget that whenever you work in Illustrator, you can still use almost all the photo shop effects, including blur as well. The only thing you have to keep in mind is whenever you use these type of effect is that it's going to be relying on a resolution. So that's called the roster. Affect settings that you will find in the affect. Many just double check that it's set to 300 peopie I to make sure that your print quality is good enough on these effects. Um, one thing that you can do is to reduce it down to 72 while you are working to make sure that illustrator doesn't slow down because it can be slow if it's at every high resolution . But once you are ready, don't forget to again go up to 300 peopie I for your final output. So there you go. I have another Grady and added on the both as well for the field. And as you can see, we use pretty much all the elements with great hands in this example, maybe apart from the typography. So I hope it was again a useful tutorial. And I hope you have a little bit more insight into the actual process and how I came up with these elements and the example. So thanks a lot for joining me, and I will see you guys in the next one. 11. Day 9 - Paint Over Photos (ProCreate) #9/365: - as you can see on my screen, I used a stock photo on played Iran and created some doodle around her to create a cool backdrop. For this case, I use my iPad pro great app on Apple pencil. This piece was inspired by several mixed media artist, and in this tutorial, I want to go through some of them, um, Donna RD and A Strong and Nikki Farkas in their amazing mixed media artist. That's Carney, popular and trending on social media on Dad. I think all of all of all three of them are very unique. They use amazing, vivid colors on used a really cool creative layout that works. Um, one of the reasons I chose John Rd is the fact that she creates a really called emotion on all her images. She has definitely what you would call a fun factor. She creates cute doodles on DA creates a nice interactive between characters and the model for this case. He's created a beats thermal cop, a champagne flute and a coffee cup on the If she cares, every denies fun factor to weigh on at this one's and also in the amazing one. I love the way and the model in this case, Victoria Beckham looks down legs and there's a cow looking cat looking up. Um, so, yeah, again, it's really Tutsi on DA he She keeps all her background elements toe same so she doesn't necessarily mass them out. So this is a good way to actually do their own photographs when you're abroad or on a night out. Um, yeah. So again, I think he's really cool and combining characters with the model and creating a really cold emotion for the image. Another favorite is Nikki Farkas, and she's really popular within the fashion industry on I Love the Way she combines models on the photographs with the image itself. So in this case, I can tell a she it was inspired by the prince from the Traves is to create a pattern for the backdrop again. You can look if you look clearly, you can see that she has hand drawn them on the look pretty simple, just simple circles on lines and triangles. But you know, when you put them together into for job on mosque a within a geometric shape, it can really cool. And ah, it's definitely a nice way to experiment with a traditional art on photograph on. It's definitely something I would love to experiment in. And then in the future, another favor. Reason for a truce? And it is the way that she combine 80 style vivid colors and nothing is definite on trend. It's definitely current on. We will definitely see more eighties theme style in illustration and fight fashion in the next couple of next year or so. Um, lastly, I want to talk about on a strong. She is also another favorite illustrator. I love the way she combines magazines on doodles and illustration together. I think this is a fun way to perhaps find an image that you like when a magazine get felt it marco or Sharpie pen and just doodles and just draw anything that comes into your head and trying Follow the flow off the model. So in this case, I love the way she is actually used a pattern to actually go around the hairline off the model. It is really nicely done, and ah yeah, and she used cold fun colors to really make a pop. So, yes, all of all of these artists are trending and the work is really amazing. So it's worth looking at. Um, on day have definitely inspired me to experiment on. Play around with photographs on illustration. So why not give it a go for yourself and let's see how you get guys. Get on. Um, I hope you enjoyed decision, and I look forward to speaking to you guys soon. Bye for now. 12. Day 10 - Flower Wreath (Ai) #10/365: - as you can see for my screens, flowers have been used in various forms, from packaging to logo to Brandon. In this video, I will be talking briefly about the arrangement off level with Onda, how it can be applied on Station Aires through two logo and kids art, as you can see for my screen for love for polka dots, they use a lot of flower wreaths on the stationary is form wedding cards to Mother's Day's cards. Have a look at the side. They have a really cool selection off cause using flower arrangements. Ryan Frank applies most of our florals on Logo's, and she creates a really nice, elegant, rustic look. Alice Bailey's form This Is Gold is another favorite one off mine, which I will talk about in a bid. First of all, I want to talk about flower arrangements on tips on creating perfect cycle Res, for instance, on this example that I created using stock photos, I simply just created a circle struck out loner straight. I'll arrange the flowers around it. I tried to have a few large blooms. In this case, I've used four large brooms. I've got some medium wants to support the large blooms on. I have fillers on leaves. They're known as spray flowers, so similar to traditional flower arrangement tips. Try and follow these rules. Have large blooms, have smaller blooms, have spray flowers and leaves, and keep your mind to keep colors in seasonals. For incidents were used, spring blooms of were using winter flowers. Another thing to bury mine is that green color is considered neutral in flower arrangements . Or try and have several types of green hues on your work. To give a really cool composition, feel free to download some stock fighters. I will include someone, this video that I've designed on, that you can play around and have a go. Alice Bailey's is one my favorite illustrators. I love the way she designs her. Flower weaves are on characters. For instance, you can tell that she tends to have fewer elements, which she repeats and just varies the colors to give a really cool compositions. That's also another tip to look out for. Try and keep flowers consistent. Repeat them. Change them around just to give a good harmony. Loosey bowels is also on my favorite illustrators. She uses a lot of flour Reeves on her work form logo design to creating Crest as she does a really, really cool job at him again, she uses similar colors. She also has a really good balance, and she tends to use repeated elements on her work. So don't be afraid to repeat florals, resize them, change the color and keep it quiet, consistent. So why not have a goal for yourself and see how you're going on about four to see you guys on the next video bye for now. 13. Day 11 - Neon Light (Ps) #11/365: - they We will be creating neon lights that the tutorial is about any team photo shop. And there's a reason My Varian photo shop today. So it's well known that these effects like, especially when it comes to lights and different glow way effects. Usually, foot shop does a better job, although Illustrator has these effects as well, but in for the shop, it's slightly easier to do it. But there's another reason why I decided to show you this technique in photo shop, and that is because I will also use on animation. So I'm going to any mate the styles to make it look like it's a flickering, glowing light. By the way, the actual tax that I used to make it shiny would have been probably better to say, make it glow, but that that's just something that along the way, I realized. But it's fine. I think it's steel works. Um, I went with these two colors. I think they were quite well with together, and this definitely looks like neon colors and what you will see me doing and you can see the layers panel and what the effects that I'm doing here, um, is that I'm combining three layer styles. So whenever I need to create neon glow Ah, I prefer the first wall start vidi outer glow effect. And, um, that's exactly what you see here, and I'm adjusting the, uh, the color or the ingredient that I'm using on that color. So that's what I'm setting up right now, using a combination of color stops and opacity to make it fade out the way I wanted it to have that transition off the light. And, of course, these colors will have to be similar to the color that you are using on the front. And unfortunately, in Photoshopped, there's no way off quickly updating them in an easy way. Eso I just have to first pick the colors that I'm really confident in working with and then start building up the effect. So as you can see, I wasn't 100% sure what ah option I should use and what colors I should use. So I was still playing around with the colors and also the contour option that will work with this glowing effect. Eso I'm picking these contour presets that you can find a few click on that little icon there in the contour settings, and then I sort off, end up using something as simple as that, and then combine it with a simple bevel and emboss as the second effect that we are ending . And then I usually also use 1/3 effect at Drop Shadow but instead offsetting to multiply planned mode. I use it with screen, and that is just for a bigger, broader glow that I add. So far, Alter Grew is used for us a closer, more like the find and stronger glow. I use drop shadow for that more faded and more spread out effect so you could see me copying the styles from one leader to another from the Make it to the shiny lier. And that's just simply by holding that alter option key and drag the little FX. I come from one to another, and then all I had to do is to adjust the colors to make it work with that different color on the world Chinese. Now comes the interesting bit. When I went into using the timeline panel and here, all you need to do is to assign a key. Vered Asari have key frame to the style attribute of each of these leers. So you first will click on the stopwatch to make sure that you are animating the style and then using the little scrubber, you go through the timeline and decide very one these attributes to change. And then wherever you are, you just simply change whatever attribute you want in the layers panel. So all I'm animating here really are the effects. So I set up the end and beginning point to be the full in density effect. And then in between that halfway, I have a key frame where all these shiny growing effects are set to zero. And you can see when I set the, um, playback to loop, we can see this pulsating light effect created. So it was as simple as that. And of course, from four to show, we will be able to export this as a video like an MP four or a movie or a V I file. That's just from file Export ran their video. So I hope you found this useful. And, um, I hope you will be inspired to try out something similar either just recreating the neon glow effect or also to start playing around with the timeline panel in for the show and create your own animations 14. Day 12 - Text Wrap (Id) #12/365: - another day, Another creative challenge. Today I'm creating a spread. It's like a magazine spread about the advantages off eating soup. But this is obviously again another example Win, which we will be exploring a certain technique. And the technique I'm focusing on today is to work with tax rap in in design. So what you see here is that I had already all the elements prepared on the right side, including the copy and the title and also, of course, the image itself. So what I created, first of all, is at text box or tax frame to fit my body Copy in and ah, I align the image as well in the background in a way that it's going to work as a nice composition. So it allows the body copy to be visible. But then I create this a fact off creating an empty circle sent it up with tax rap to push the text of a from the soups outline. And then I create another circle, which I used in combination with the text frame. So I actually used Pathfinder to subtract from It s so that way I created this interesting shape. So it's a It's a custom frame, basically. So not only do we have another shape to keep the tax away from the soup, but we also carved out that ah, curve from the tax rap. So that way it nicely fits next to the soup. Almost feels like it. It sits underneath it. So apart from that, I also used a little bit off reduced visibility on the tax frame. So it helps us to have a little bit more showing from the background from the image itself , but still keep the tax legible. That's always should be your priority. Make sure that the tax, especially in case of an article, has to be eligible because that's the actual content. And as long as that works, you can play around with different the facts. Like with the title. What I decided to do is to have the word soup really emphasized eso. Even the type of itself or the title itself is divided into two elements. The health benefits off, and then the primary part is the soup, and then two further emphasize it. I also will incorporate this icon so that, um, spoon will be intertwined with the letter U so a zoom in here just so you can see well what I'm doing. And I'm going to divide this icon into two sections that will be one in the background and there will be another one in the foreground. And you can see I'm using a simple frame technique with the pencil. So again, a custom frame. I created that to be able to create that coming in front part. So that way we have the spoon, um, nicely intertwine and integrated with the title. And now the last bit that I'm going to work on is that quote that goat goes at the bottom once again because it has to be legible. I am going to use another block color. So first I thought, I'm going to turned this into black. But as you can see, I'm again playing around with the feels capacity. So going into the transparency settings, you can decide what you want to change the opacity or transparency when the change, whether the whole object or just specifically, the field color off a frame or text or the stroke. So that's a very useful feature, definitely worth checking out. So I keep the tax fully visible and just reduced capacity for the field color. Now, as you can see once again, what I'm trying to achieve is to make it feel like the frame is part off this photograph, so I will make it look like it goes underneath the fork. Um, so that's always a good thing, because as soon as you can achieve the sense of depth in your design, it will look more engaging, more interesting. So all the elements, including tax frames and photograph and icons, they should all integrate and work together as a whole. So you can see that simple technique I did there once again. Similar. So what I use on the the ball off soup with the tax room on the right, That's again very similar. And as a last little touch, I also added another icon down there. So with a few tweaks at the end on the curves, I think that's the final page that I wanted to create. So I hope again, this was useful and the it showed you a few of these techniques that I would normally use when I create spreads or pages for a magazine design 15. Day 13 - Hand-made Pattern (Ps) #13/365: - I thought I would give it a go and try some D i Y pattern making. I've always wanted to try thes cross, but never had the chance to do it. I've always been one of those people that go into the computer and do trying to mock up and , you know, try and sketch directly and for the shop with a traitor on it was always a mess. So one of the key rule number one you can do in your Korea is perhaps step away from the computer and experiment on traditional art. So for this case, I decided to create some textures using everyday objects. Eso In this case, I use a lemon the lemon wants slice into half on. I made sure the surface there was smooth. I simply just dip the lemon onto a critic paint on, then scattered a onto a piece of paper to create lemon texture. Once it was dried, I scanned into 40 shop, where I digitally manipulated and created the pattern. So in this session, I want to encourage everyone to perhaps give a go and try and create some art using traditional media, as you can see from some of my examples, you can create really beautiful textures, create patterns that can be used for stationary, these wrapping papers and even on kitchen approx. So why not give it a go twine? Use everyday object and think outside the box on how they can enhance your creativity? There are so many amazing and D I Y examples available on the Internet. If we just go into pre interest, you'll be bombarded with so many beautiful creative examples. So why not give it a go yourself and see what you can come up with? Ah, I hope you enjoyed this session on I look poses to you guys on the next video Bye for now. 16. Day 14 - Creative Frames (Id) #14/365: - once again, this is a fairly simple technique. So compared to other tutorials here, this is actually a slowed down version because it took me less than five minutes to do this . So to make sure that you understand what I'm doing here, I'm going to walk you through step by step. So first of all, I am in in design and I have the photograph place. Then and then I'm using the frame tool to create an empty feel bought with F, Stroke said. I think around five points light stroke and then also a subtle drop shadow on it. Then I used the selection tool and holding that alter option. I duplicate the frame, so I create a few different sizes from it. And what I keep in mind is that the end result will be whatever is visible within these frames is what we will see off the image. So I need to make sure that the most interesting details from the image will be still covered with these frames. And ah, not by the overlapping parts of wherever there's an overlap. There will also be visible edges. So, like the the little details off this cute cat. We want to make sure they will be visible. So that's what I'm trying to do with the frames. As you can see once I have roughly the amount off frames that we need and also said them in the sciences that we need. I go on and add a bit of rotation once again make it look like it's random postcards just thrown down on the table. Ah, but creating this unified image that pretty much the effect is about. So once I start to have the details in place, I can do a test and cut the image from the background so selected, added cut and then select the first frame and choose edit paste into. So that's the important feature. And then I'm just using the shortcut. So acting individual frames and using commander control or the that's the paste into shortcuts. And you can't do this all at once, so you have to do it one by one. But once you selected them all, you already see the effect. So the feature paste into remembers the original position off the image that we had in the background and then placing it into these other custom frames that we created. It will still keep that unified look. So at this point, the only thing you need to consider is whether you want to use the order off the frames as they are. Or maybe you just want them to come up or down so you can use bring front or sent to back keyboard shortcuts in case you need to change the order. And, of course, you can steal. Play around with the frames as long as you're not moving them around. So it's important that you can select the edges and drag the edges around. You cannot rotate them anymore because, obviously than the image inside them will also rotate. Um, but simply just dragging the edges around or even the corner points want a fact the position off the image in case you want to rotate them? Or maybe if you want to add another friend to them, Um, then there's again. Another big problem. Just create your frame or rotate your frame and then paste into it again, using the same shortcut as long as the images steel on your clipboard. If it's not there anymore than select one off your images by double clicking on it. So that's the image inside frame copy and then paste into again into your new frames. So it's a fairly simple technique, and all I'm just doing here at the end is to have the text that the day or the theme off the day. And if you have a pat, then maybe you can consider doing a little bit off a dress up today because that is actually the thing. As I said, dress up your pet day today, so I hope you enjoy this technique and, ah, there's really not much else to say about this. So maybe one thing that you can try is instead of just using rectangular frames, maybe tried the same technique with elliptical frames as well, or just purely circles, or maybe just triangles or maybe even combined different shapes. So this will work with all kinds of different combinations, and sometimes I actually use this in a much more subtle way. Sometimes I and abusing it the way you can see it here 17. Day 15 - Vector Portrait (Ai) #15/365: - This is a fairly long process, so it's not something that you can do very quickly because you have to really try to capture the most recognizable features with simple geometric shapes. If you want to recreate this style that I'm using as an exercise here, so one thing that you can use and that really is helpful for these type of techniques is the greed in Illustrator. So you just have to go to the view menu and show the grade. But I also recommend to choose the snap to greed option because that way, whenever you draw, you will be able to align all your anchor points to the great itself and that just really have to keep it symmetrical, the whole drawing itself, but also to have a little bit more unified structure. So as you can see along the way, I constantly keep the great visible and I work on top of that. Plus, I also used to reference images on the left. If you just choose one reference image that you really like, it might not be enough, so I I like to have a little bit off different angle, um, off the person that I need to create a portrait off because usually these different angles give you a little bit more insight into certain details like, for example, his hair or his years or his neck, for example. So these are all things that I wouldn't necessarily see from the front of you. That's why I chose to different angles. And what you will also see that although I've done illustrations like this in the past, every time I do a technique, every time I do an illustration like this, I always constantly change all the elements around. So I don't settle for a detail I create almost like a draft construction. First off these simple shapes, either using and, um, ellipse or rectangle or a custom shave with the pen tal. I just draw them, reflect them as you see that constantly happening like here with suit as well. Um, and then once they are all ah in place, I start playing around with them, some tweaking it. So we're halfway through the process, and I pretty much have all the elements in place. But from now on, it comes to refine them, and refinement is usually takes at least as much as the actual construction of all the elements. So this is where I will be working on getting more off the likeness off the real person. Is that the movement? It's quite far off. So one of the key areas with poor trades that you need to get right is the eyes or are the eyes Um, that's really one off the most important elements. And when it comes to these simple illustrations, you can only work with a few lines. But even how you use those lines will make a big difference. And, of course, then the second was important When I would say is the nose and maybe 3rd 1 is the lips or they are roughly the same importance. To be honest, the nose and the lips, Um, and in his case, obvious the moustache as well. So as soon as you get these things right, the main facial features um, then, of course, you can focus on things like eyebrows hand years and of course, in general, the structure off the face. Um, so you will see that I'm still changing all of these features around all the way at the at the very end and just in the general signed note. I'm also adding, like a Grady ent in the background. A cast share the world that is just a nice diagonal shadow there on the left and ah, also I have at the shadow on the left side on the illustration, So I pay attention to the light source coming from the right. Then obviously the cash it'll will be going to the left, but also half off his face is going to be darker and all the rest of the elements, like even the teach other. The shirt and suit will be darker on the left side. So that's just something that you need to pay attention to if you are trying to recreate a style like this on your own chosen portrait. So why would like to challenge everyone is to pick a famous person, celebrity or even a fictional character and try to recreate a similar style portray. So thanks a lot for tuning in again today, and I hope you found this useful and I will see you guys in the next one 18. Day 16 - Drawing a Dragon (ProCreate) #16/365: - I decided to draw a funny character, and I'm using procreate on my iPad pro, um, with the apple pencil. So what you see here is a time lapse recorded in that application. So it's not as fluent as when I record my screen on the computer because it's, ah, like, slow down version off that time lapse. But you should still see what I was doing here. The first of all, whenever it comes to drawing characters, it's always a good idea to do a few very quick sketches on paper first before you go digital. So just just so you have a rough find the idea of what you want to achieve. So I had around like 56 sketches off dragons like I wanted to go for a Kensico comical take on that dragon. And I did this already on paper first, and then I roughly had in in my head how I wanted to look like. So I wanted to make it fat and and just generally not like your typical dragon. So I ended up actually using ah as a reference a crocodile, because they had is more similar to that in even like the proportions off the legs. Uhm is more similar to that. But then again, obviously it's very out of proportions, a lot of things. And just to make sure it doesn't look like a big, fat croak crocodile, Um, I added details like the horn, I guess you could call it. And the things of course. So whenever it comes Teoh fantastical beast or like an imaginary character, you have to make sure that you somehow indicate that. But also it's very important that you make it similar. So base it on existing animals and ah, and creatures in general plants. Even, um, you're your creation because we down tying it to real to the real world and realistic details. It's going to be strange, so even the most strange creatures would be usually based on something that we are familiar with. So that's why it's always good to look at references of animals, plants and just generally even textures and object as well that you can base your design on now. One thing that I wanted to mention here is that always I'm working on layers, and that's something that's very useful in digital drawing, digital painting that I can refine my sketch with an additional layer, then I can add colors behind. Then you will see at the end. I will also have more colors and it in the background. And I'm working on details like the scales, and they don't need to be covering the whole body. I'm just using small areas to indicate it, while probably the detail would be the strongest. So you will see me adding a little bit more off those scales on the tail as well. But again, it's more of a suggestion or hint, and there is not doesn't have to cover the whole character now. What you see is that I actually changed the color at this point because I realized that even though I added the things and the horn, it's still looked too much like a crocodile. So I changed it to red again just to make it a little bit more like a fantasy beast. So at this point, I started to use different brushes as well and experiment with it. How to keep this traditional feel as well, like a bit more like water cover or oil paint. Um, but also, um, like, just just generally make it a little bit more interesting. The composition. So what I decided to do is to create a little background and to have the character coming out off that background. So I first drew the background on a separately or in the background, and then I raised out of it and keep it slightly wonky. So it's not like a perfect rectangle in the background and you can see at the end I still keep changing the colors, tweaking it slightly and also adding in some car shadows and highlights. But that's the final result, so it's not a very like successful design, but I think for the simple example for today, hopefully it's something that you will enjoy watching and learning from. 19. Day 17 - Halftone Effect (Ps) #17/365: - way we will be discussing half turn effect in graphic design. Ah, half turn has been around for such a long time since the start off the comic strip start illustration. It probably became quite popular during the 19 sixties seventies with artists such as Roy License Stein licensed in I'm not really sure to pronounce It, but he's a famous pop artist. He mean you worked on comic book style design. Using a lot off half turn effect. We traditionally associate halftime with comic strip books. It can still be used in a modern way, and, ah, today I want to just share some off my favorite designers, who use half turn effect on their artwork to create a rustic print effect or give it a old newsprint style with a modern twist. Tim. But Smith uses half turning a really clever way for instant on the Selma movie poster here uses half to, in effect, to really show struggle and strength on the character again. For Jim Carrey's illustration, he applies half turn in a very subtle way just to ask some texture to the image. Another favor. Designer off mine who applies half to in effect in her work is shanties. Borrow again. You can tell she uses in a very subtle way, but to give it a bit of a roosted, comic strip style feel, I think Shandy Spire is an amazing illustrator who uses half turn in a very playful way. I love the fact that she just uses simple, dotted, pattern lined itself is not necessary half tone, but it gives arrive over half to look on the left poster. You can sing a rainbow. She is using 1/2 turn effect, but creates it like a ray of sunshine where you can see the dots a lot clearly. On the one minute video, I explained clearly on how you can create the half to in effect. But on this video, explain on the way you can apply the half turn effect. So whether you want to use as a texture on illustration, creative, rustic pattern or if you want to create a traditional comic book style poster, why not give it a go? Have fun and Tehran play around with the different size, play on different colors and see what effect you can come out with. Good luck on. I'll see you guys in the next video 20. Day 18 - Minimalist Portrait (Ai) #18/365: - Today we will be doing a very simple and cute illustration. So what I'm going to do is to start with a simple circle. As you can see, once I have the circle, I use the direct selection toe to select the two endpoints and then using the keyboard shortcuts, I dragged them down. So in this case it was shift down arrow twice, I think. Then, using the pen tal, I defined two new anchor points on the edges using the center point. I just aligned them to make it, make sure it's symmetrical. And then again, using the direct selection tool and the keyboard shortcuts, I dragged them in ah towards the center. Then I use the handles to drag these curves out on the top off the head to create a slightly different curvature there. Now, if you use the pento, you could you use a shortcut to drag these in a symmetrical way as well. But here it was just quick and easy to do it that, using just simply the direct selection tool and I just drew another circle, which will be the year or one part of the year, and these can be duplicated or you can just use another circle as well, and that will be the center part. So the red bit you can always to see the final result on the left side always use the shortcut command or control square brackets or holding their shift as well to move things up and down. So in this case, I move the years back along the way and then to make sure it's symmetrical and it's on the opposite side. I use the rotate Oh, set the center point to be in the center and then click and drag and hold on old and shift or option shift to make sure you duplicate and keep them in. Ah, exactly symmetrical on the other side. So it's important that we, the rotator will you have to click and drag. And then, while dragging, Holden wouldn't shift. Don't do it beforehand. So first click and drag and the whole down order and shift. In the meantime, you can see me doing the I again, exactly the same technique direct selection tool dragging anchors around the bed to make it not like just a default ellipse or circle. And then again using the same rotate technique or using the rotate tool create the symmetrical version of it. Now there is also a way off getting everything automatically reflected. Where they're set up are using the transform. In fact, this is something we will be exploring in another tutorial in the Siri's. But for now, I'm going to just show you how to do it with the rotator, because for simple illustrations like this one, I think it's perfectly fine to use it like that now for the eyebrows I used the Ark Tool. It's a very simple tool you just selected, and then you drove it it, and it can create thes quarter over circle elements. So it's just the fastest way to get the creating details like these, and you can see by ITB rotating them around. You can use them for so many different things as well. It could be the mouth as well if we wanted to indicate that, but that's actually all have immunity. So using circles and the Ark tool and obviously the direct selection within the rotate told him when they modify them, we could create very quickly as simplified minimalist version off this cute illustration 21. Day 19 - Wave Effect (Ps) #19/365: - liquefy filter is one of the most scariest filters. Imported shop. When I first started using it, I don't know what to do with it. I know it's a great feature for retouching images, but there is actually a lot more you can do. Recently, I've discovered that liquefy filter can be applied on images and tax and even shapes without losing quality. I love the fact that you can push, pull, rotate Parker 12. I'm pretty much do anything you want to the image, and today I want to talk about some of my favor artists who are really great. I using liquid five filter to create engaging, beautiful graphics. Ah, first of all, you can see Shanti Spiro is using liquor filter affect mainly on typography. She created an amazing movement on the tax, using the liquefied to where nothing is really engaging, and she's done a really great job at it. Secondly, fasten Quattro. He is famous for apostasy with Colback ism that he's been doing again. He used the liquefy toe to create really cool abstract shapes on day. I think it does an amazing job. The liquefy, too, is no only used for retouching images it can be used for so much more. You can create amazing optical illusion art graphics, create cool abstract shapes and even at a cool effects on typography. I have so much fun creating my fish pattern. I simply just applied the liquefy filter on, walked the straight lines to give it a wobbly effect. So give it a go, try it out for yourself and see what amazing things you can come up with. 22. Day 20 - Gradient Line Art (ProCreate) #20/365: - you can see on my screen. I created a nice Hannah pattern using my iPod. Procreate up, Andi. I use multiple colors, which I turned into a Gaussian blur on Applied the multiplying effect. The technical aspect has been covered on the one minute time lapse video. So do check that out on this session. I want to just talk a bit more about doodling and Mandela's on how then Tangled design is very therapeutic and quite relaxing at the same time. This is a fun project for me. I love doodling. I have a sketchbook off doodles that inspired this work. So if you can't get in the habit of doing it every night or whenever you get chance, just five minutes a day is a great way to keep the mind relaxed and also help to get the right side of the brain working. So, yeah, for this case, I just used a simple hand illustration on. I want to go for a bit of a booze and feel so I used henna art. Henna art is one my favorite way off doodle in because I can experiment with dots, line curves and create beautiful, intricate design. If done well. You can create critical composition and create products from these work. A really successful designer whose only 18 years old is Orlandi Holla T from Australia, she has a to shop. She's really big on Instagram. She simply creates Mandela's and then tangled art. Andi is really popular again. She is an example of someone who has bean doodling every day in creating then art, but has make a lot of money for me. And she's still doing really well then, Artem. And as are very popular, and once you apply effects and filters, you can create some intricate design, so why not have a goal for yourself and see what you can come up with? 23. Day 21 - Pairing Typefaces (Theory) #21/365: - today was all about pairing fonts. This is a pretty tricky topic in design. And to be honest, it took me a little bit of time to get used to it. But once you know the principles, it can save you loads of time because you kind of know what isn't isn't gonna work. So you don't have spent time doing research and stuff. So today I'm just gonna run through the basics and a little bit more detail. Eso it can help you guys start using fun pairings in your own work. So when Yeah, let's get started. The first point is probably contrast is really important. Never perform is there to similar. They look uncomfortable when they're placed next to each other. It's difficult to tell them apart, and you might as well have just use the same phone if you're going to use to very similar fonts that it doesn't really say much to reviewer. If two very similar looking funds of paired right next to each other, so there's no contrast, there's nothing that's visually exciting. So yet contrast is key. Moving on scale is again another good form of contrast. It stops funds from being too similar. You can make them a lot bigger, give them a lot more character. So it's also a great way to put emphasis on keywords or worded a lot of importance or meaning, or whether you want to draw the view's attention to really so when you pay attention to scale, something that people sometimes forget about is the use of color because you don't really think about color when you're pairing type. Obviously, when you create composition, you obviously want it to be very vibrant but fun on eye grabbing. But if you're already using a few different typefaces, chalking too much color in there can be quite confusing. Andi. It can feel overwhelming for a viewer s. So just bear in mind that you're already playing with a few different design elements, so less is definitely more when it comes to color, especially when you're pairing it with type, you have to think about readability on the overall message of your of your composition. So the last thing we're gonna talk about is thief, former of the words you're using. So by former, I mean changing the tracking or they're turning for your word or phrase this can help create a really nice pace in the word or phrase that you're using. It means you can add more personality. So if something is meant to be fun, Andi not care as much. They can have very loose tracking, but it is meant to be like up tight and very stiff and solid. It can have very tight tracking, so but it's a really good way to give personality to your composition as a whole. So let's look at an example of a core composition that I found for you guys so you can see all of these points in action. But I chose this composition because it's a great example of how to pair a few different type faces on some a good color palette into one composition without feeling too busy. I think this particular composition is so successful because the choice of type face really reflects the meaning of each different word that has been used on. Also, you can really see how the designer is considered the relationship of each character to another. So although the typeface is air so completely different, they all have their place within this composition on work together as a whole to give a very fun, very interesting overall impact. So I hope this video has given you a little bit more information about pairing fonts on and giving you a little bit more confidence to go and start paring them yourself in your own work. I hope you guys have a great rest of your day on our catchy soon. 24. Day 22 - Blend Modes (Ps) #22/365: - way . Today we are going to do a slightly different commentary video, This tutorial that we had for today's 3 65 days of creativity challenge. We actually covered the blend modes in for the shop and in stand off showing you the time lapse which there wasn't really a time lapse. I am going to explain the different categories in a little bit more detail. So first of all the bland modes you can see on my screen as well I would just turn them on can be categorized. And the first obviously is normal that you get always whenever you start with a new layer when have you place an image into fourth shop and by the way, in design and illustrator has these band moves as well, so we always start with normal and what does that mean? So plan mood is all about mixing modes. Um, we can also call them like that, and in digital image editing and computer graphics, we used these to decide how to layers are blended into each other. So the default Bamu normal is simply going to hide what is at the bottom So the low earlier will be hidden and the the top layer will be visible. You can, of course, use a pass ity as well to start mixing leers together. But instead of changing the capacity, you can rely on the rest off the bland moods. And let's have a look at the 2nd 1 called dissolve, so it finds him like this layer here on the top. At the moment, it set the screen mood. But once I choose normal, then we will see just the girls layer so we won't see anything underneath the layer underneath looks like this. So if I swapped their the order off them, we can see that's the lira at the bottom. And now if I move the girl above, we just see the girl. But the second option, if I choose dissolve by the fourth, wouldn't look any different from the normal mood. The only difference is when you start changing, it's a pass ity as well, so some bland moods might have a different the fact when you play around with the off pass ity, especially this one. So if I reduce the opacity, you will see that it starts to fade the image out. But in a completely different way than the normal mode. So in normal mood is just start blending and fading out. Here it starts. Teoh show little gaps in the image. So the further down the opacity goes, the less off the original image we see and more off whatever is underneath. So that's a quite interesting effect. The dissolved, bland, moored. It's warmer, more of a fact now blending, I would say. But then we have the next category, starting with darken, and there's five of them. If I select darken, you will see what happens here is that white is the neutral color. So everything. That is why I will not have any effect on the layer beneath and in general. Wherever is brighter on this layer than the layer underneath won't be visible, so anything that is darker will be added down there so you can consider these the darkening , bland moods and the I can go down and show you the rest, so that is darkened. There's multiply, there's color burn, and each of these will do a similar effect. The only difference is that they use slightly different algorithm for mixing the two layers . So, um, I can show you linear burn and darker color, so all of them have a slightly different they off mixing them together. And if you use shift plus and minus on the keyboard, you can actually quickly cook Togo through days. Eso that full list that we have on the left as well. That's what we can go through. The next category is lightning modes, starting with light and what you see currently on the screen. So this is the complete opposite of the previous category. Here. The black is the neutral color, which means that anything that is black will not have any effect on the layer underneath. But anything that is brighter than the layer underneath will be still be visible. So so it's again uses the two layers, compares them to each other, and whatever is brighter on the current lier will be still be visible. And once again, we have lightened screen color George, linear dodge and lighter color so five different ways off again, blending them by lightning. The and result Um, and then we reached the third big category, which I would normally call the contrast modes, and here it's almost like a combination off darkening and lightening. Ah, here the meat gray is the neutral color, and that won't have any effect on the layers beneath. But generally, this group will at contrast, because it lightens the highlights and darkens the shadows. Why it mixes the two images together, so starting with overly, we can see that it's a very high contrast result. And then there's like a more subtle version of it is called So Flight. Then we have hard light again and different take on overlay. Vivid light is going to have very vivid colors. That's why it's called. We would light and then linear light again, another high contrast result. Then we have pin light and hard mix again, different versions of it hard mixes, probably likely looking a bit more like a posterized effect as well. That's why it's going hard mix. And then we reach the next category, which is really more difficult to define what it means. We can call. Call them comparative or cancellation modes. Um, here, for example, the 1st 1 difference is great if you have two very similar images on top of each other, and you just need to find what's different between them because then this mold will be perfect for it. So if I, for example, duplicate this layer, I just turn off the other layer there. And I have the bottom one set to normal and the top when he said the difference. Because it's exactly the same image. We won't see anything. But as soon as I start moving it, you start to see the outlines. So the further area move it, the more we can actually see it. But you can see if I start aligning it closer and closer. Then it starts to disappear until it's completely turns black. So that is why we would call this a comparative mood and specially difference is good for that. But then we have also divide. Now divide again is going to give you a different way of looking at these two images and again can help in certain examples to compare the two images to each other. So we also have exclusion and we have ah subtract in this mode or category. But I think in general they are just quite similar the way they work. So these would be more for analysis, not really, for achieving a result. So not for design or composition, more for NL analyzing images. And then the last category is again it more specialised more, but we use it quite often in design. This is, I would call it the color influencing moods. So each of these moves will affect how the color looks in the layers beneath the blending more layer in the within the blending modes. Lear. Sorry underneath the blinding more layer. So if I choose, for example, Hugh obvious and now we have to similar images. I mean the same exact images, so that won't really make any difference. But for example, if I adhere as solid color layer, that's where usually it works quite well. So let's just pick a strong red color something like that. Now, if I sent this one Teoh Hugh, then we can see that we get at monochrome a fact. So all the colors in the original image now uses this red tend, and if I want, that can change the 10th by double clicking on it and adjusting it to whatever color we want. But you can see if I'm in the hue blend mode. It doesn't matter what brightness or saturation I choose it only matters what Hugh I using on this layer. Now, if I change the blend mode to saturation, then off course now it starts to be important what saturation were using. So it doesn't matter what Hugh I'm using here or what brightness. It's more important what saturation I'm using for the actual and result, then similarly again, If I choose color, then we will have a slightly different effect now with color, both brightness and saturation, and you will matter. So all three attributes off the color will matter, and amid luminosity, it's again mainly about the brightness off the color. So it still matters. Were Hugh you are using and what saturation but more important, what brightness you are assigning to that layer? So that's all the different blend modes explained. I hope it was useful and just one last thing there. If you want to quickly jump to certain bland modes, just use Old Shift and the first letter. Normally to each of these blame, also like Old Shift s would change the blend mode off the currently selected layer to screen, and that's what I had originally here. But if I was old shift Oh, for example, we jumped overlay and would be going back to normal. Em would be multiply and so on and so forth. So I hope you found this tutorial useful and it was slightly different from the other days . It was a little bit longer as well. But I wanted to make sure that I give you a very good work, three of all the different bland modes and hopefully this was a useful guide. 25. Day 23 - Creative Hand Lettering (Drawing) #23/365: - I designed it to work on a hand lettering, um, composition. I'm using again procreate on the iPad pro with the apple pencil. And I did a few sketches on paper first, just to make sure that I have a good composition. And, um then I started off during a very rough sketch on the iPad. This is again just based on that. My original sketches on paper, and once I get to a roughly, um, good result, I fade that layer out, and on another layer, I drew over it again and notice that I added a few lines there. You can do this if we are using procreate by simply just tapping onto the tablet and then drag and keep holding the pencils steady eso without moving it. And then he automatically creates a straight line like that. I actually used just that once that technique and then copy and pasted it. So it is exactly the same angle that really helps me to have a baseline and also are on excite and a cap height that I have. So even though it's hand lettering, it's very important to follow the rules off typography to make it look nice and ah, you will see me refining the letters. And also I intentionally used brush that is more like an ink brush. And I kept it look a bit more natural, so I didn't want to end up looking like a vector design. I intentionally wanted to keep it a bit more natural. So, um, that's what you see here. And I'm working on the second word here. And what you will also see me is to try to integrate as much as possible off the details in the design. So obviously to have a theme that goes around like the A similar type of swells all around the design, but also that all these lines like, for example, the why is going Teoh integrate itself into the first word by going through the loop in the G. So, um, you will see that exactly now how it is comes together. But in the background, you can also see that using a very big brush in procreate, I added a circle that will help me to align the rest of the design to that circular batch in the background. So the national will be on the top and the 23rd of January, 2018 will be at the bottom. Plus, I also know that there will be quite a big gap at the bottom in that circle circular design . So I already have planned, um hand. So I'm just going to draw a hand with a pencil or pen, um, to again just emphasize the whole theme. And ah, you can see that I'm using these secondary lines as well. So instead of having a two dimensional sorry having a three dimensional design, I am just simply using additional lines just to further emphasize the lines that I'm drawing for the main text and then to make them a little bit stronger, The top and bottom details. I add these ribbons, which is just a simple the fact that on the edges you just draw the folding back. Or you can draw it folding the other way as well. It's up to you, whichever you prefer, um, and then to have a slight difference between the phones or the tax that I'm using on these ribbons, I decided to use Sarah with fund, so I am drawing the little Sarah. It's on the top, and the bottom um, that is just making a difference. Or while the hand lettering days more of a A script fund, um, this top and bottom is working with serif fonts. So it's always good to have that combination off different type or different funds in your design, even if its hem lettering. Andi, now you can see me. I added a few elements already, like more illustrative elements, those lines and the stars. And now comes the actual drawing off the hand. I was just using the hand in front of me and trying Teoh base it on that. So this actually fits in quite nicely here, feels in that gap, so it doesn't have a huge empty space, and I'm just struggling to feel the bottom area as well. So I decided I'm just going to use something very generic like a star. Ah, but I actually ended up having that star redrawn a few times and then decided that I will make it a little bit three D and also align it with the, uh, the I. So that's just quite nicely fits in there and feels in the gap. Plus also goes with the theme off celebration, celebrating the special day, the hand lettering day. So I hope it was a useful explanation. And I hope you like the end result. And most importantly, I hope this will inspire you to try this out either on paper or procreate or using for to show poor illustrator. What have you? The most important thing is to spend at least an hour today and give hand lettering ago. 26. Day 24 - Hand-made Assets (Ai) #24/365: - So on this video, I want to talk about this composition. As you can see, I've used fruit textures to create a composition for a fictional farmers market. There are several rules to consider when it comes to compositions. So in this case I try to keep farmers market as the main focal point. And I have a circular composition off fruits and vegetables that keeps the eye in the center on. That's another thing to consider. You have to ensure that the I is directed well, so you're I shouldn't feel confused. So that's one of the rules I tried to apply on this case. I try to keep everything in the centre on type. Repeated elements is also a really important factor. As you can see on my composition, I've repeated my chilies, duplicates off the apples, the lemons. One of the best ways to have repeated elements and not look too obvious is to perhaps change the size or change the color. So in this case, I enhance their use and try to complement each other. So in this case, the complementary colors off the green and the red really work well together. So they had these details on the key points to consider. I want to take some time to just talk about one of my favorite illustrated, who focuses mainly on using fruits and vegetables and food in general for her work, she mainly focuses on food packaging and creating graphics for homeware range such as nap games, wrapping paper, etcetera. Uh oh. Marwin is a London based designer. She's definitely a big inspiration. I love her composition. I think she has a really good usage off color. She also has a really good focal point. She also used repeated elements and again colorized them differently on ads. Contrast to all her work. Oh, moment is a really good illustrator. I really had my heart work on the usage of color on composition. So I tried to follow the rules or having the main focal pouring to have, in contrast on using complementary colors. So why not give it? Go for yourself? Seaway can come up with on duh, have fun 27. Day 25 - Out of Bounds (Id) #25/365: - Today we will be exploring a technique combining for the shop and in design. So starting off in photo shop, what we will be doing is to create a selection and to make it quick and dirty. I'm using the quick selection tool, which is obviously not the best way of making selections. But it's certainly the fastest will most of the time. So for more refined selection, I would probably use the pen tool or the focus area, maybe, or color range. Um, any off these, to be honest. But what you see here is the important step. Once you have a selection that you like, you just turn it into a path using the path panel. If you miss what I was doing that just reverse and you will see it exactly. And more importantly, you have to name your selection. So I saved that selection is a path, and then I'm going to save an update this file because this is already in designer Now we switched into in design. So here, in in design, we have this, uh, J Paige or PSD or tiff. It's good to know that you can actually save clipping parts into J packs. So this path that we save them for the show will be stored even in a J pack violin. You can even have multiple paths if you want, and as long as you name them, you will be able to access them. So once you have the image, placing two in design is best to create a duplicate and then on one off these duplicates choose the option that I'm showing here is from the Object menu Creeping Path options. Or you can use command old shift or control. Old Shift K is the short got. It's a quite hefty one, but once you say like that, you will be able to choose that path that you created earlier on. So even though we're in in design, we can access Photoshopped paths. So that's what you will need to choose from this menu. And once you have that selected, it automatically finds or the named parts in that file, and if you need to, you can even invert them. But I already set it up in a way that my selection was saved us the path, so that's going to stay visible so it's creates a clipping mosque essentially based on that path and what I do, it's simply dragged the top edge down or whichever edge. I would like this out of bands effect to be visible off the original image. Then select the two versions, the original crop version and the clipping path version and the line them to each other. Because I just move them horizontally. It's enough. If I aligned them to the center like this and immediately you have the effect that I wanted to achieve. So as you can see, it's fairly simple. What's important, of course, as always, is to choose a good reference image. I mean, choose an image that will work with this technique, and one a key aspect off. Doing this out of bounds effect is to make sure that the background is interesting. I mean, they're still background visible, so to make it obvious that the details coming out of the frame actually are outside off the frame and also try to keep details bidding the frame. So here. The reason why I thought this is a good composition because there's thes three students to off them, which are sitting and one that is lying down on the right So that girl is completely within the frame. One of the other two ah students are coming out of the frame. So at the end, I was The simple thing I just did is adding around corners on the frame which we crop from the top edge. So hopefully this was a useful explanation of how to do this, combining again for the shop and in design. So give it a go. You can try it with the same image, but probably best if you try it with your own photographs and have fun experimenting with this technique. And I will see you guys in the next one. Thanks for tuning in today. 28. Day 26 - Drawing Maps (Ai) #26/365: - What you see here is that I already have a few elements prepared, including colors and icons, and I have a screenshot from Google maps. Then I just seem to use the pen, Tal and Satti to read, outline no feel cover and quickly drew the silhouette. A simplified version off the silhouette, obviously. So don't worry about looking for a vector version off a continent or a country. The simplest thing to do always is to destroy yourself. It literally took me like, two minutes to do that, and then once I have that director outline, I use copies off the same thing. So I have the feel and the stroke on the one on the top. And then I have a different color feel to get that steps, so make it look like it's a slightly three D effect. It's common thing. I do this very often, and I just have to refine this so once again, I'm not using any special effects. It's just simply a duplicate. Now. I added that color in the background because that really helps tie the colors and the details together. Ah, and I intentionally choose something warm for the continent and something cooler for the background because the cooler Thrones were better for water. So this helps to feel like the continent is the actual try land and especially because those really is quite a hot country. Um, I think these warmer tones work really well there. Now, the icons obviously are not placed there with any significance. They are just in general show like very, uh, Australian themes and and designs apart from maybe the Sydney Opera House, which is actually roughly where Sydney is supposed to be. So you can see on the left side I still come the Google maps. They're just so I can see that. And I have this really cool court, um or it's a fact about Australia that if you were to visit the beach every day, a new beach, new beach in Australia every day it would you would spend 27 years of going around the country. Um, because it's such a huge place and that always is surrounded by the ocean. So what you have ah, at this point is just simply adding colors again. I rely on the colors that I already have, and I'm just experiment. What looks better and, ah, what will actually work? So, um, I decided to use that same orange color and just use a darker version of it because I found like on this red background, any off the other colors that I had didn't really work as well. So I had to introduce a darker version off that orange for the over 27 years, which is actually the probably the most interesting. But that's why I highlighted it in the tax. And the word Australia is actually goes well with this, saying that this is a map but at the same time also works as as an interesting quote or fact. Now, at this point, you can see I'm adding a texture, and this is just something out downloaded, and it's a free texture. You can also create your own textures if you if you like and just wrecked, arise them in illustrator. But I'm already working here with the at this template or something I downloaded from the net. Ah, and I'm just using one off the colors that we have in the design and experimenting with what looks best. So I end up using that darker greenish color for the water area and the same texture with a different color. I use on the land details eso That's the orange texture there. These type of textures are always useful because they add an additional interest to the design and also break it up a bit. So instead of looking to geometric and to clean, which you usually have, ah, on vector design, this just makes it a little bit more natural and interesting to look at. So the last bit I'm experimenting here it east to add a little bit off again depth to the, uh, to the main tax Australia. Something like that looks quite good. And then I'm just making just a few final changes to the type. By the way, I'm using two different phones here. You probably notice that again. That's just something that works while these two phones combining them together because they are different enough. Two work well together 29. Day 27 - Slicing Objects (Ai) #27/365: - So in my love four sweet stuff, I decided to create a cop cake inspired composition using typography on three main tools in Illustrator Raise Our Scissors and Life, too. So for today, I want to talk a bit more about using black and white in your work rather than using so much color. Personally, I've always loved calima work, but recently I've discovered that you can curate beautiful outward just by simply using black and white, black and white color palette is timeless. It can be applied in many forms, from logo design to Brandon to packaging, poster, design, editorial and fashion and so much more. So don't be afraid to reduce your color palette and just try and experiment is on using just black and white Melony Greenwood is a great example of a list writer that mainly uses black and white color palette on her work, as you can see from her work that she tends to just have black color and use white as a part of a texture on the image. I think she does an amazing job. It looks striking. It's also very elegant and has a really clean look to it. So black and white images can be as effective as anything, another favorite illustrator off mine if Cell Thompson. She's also a designer that experiments with using different typefaces on using textures and black and white color palette to create beautiful graphics. I love this sold typography graphic. I think she does an amazing job in choosing different typography and uses a slice tool to create floating salt. Effect both Melanie Greenwood and Sell Thompson or inspiration for me to try and give black and white color palettes ago, I created this type of grow free cupcake design using three different typefaces that will contrast into each other. I've also added textures on little elements off cupcakes to make it seem like it's been bitten off. This was a fun way to really experiment with just using the black color on his own other than the post. So don't be afraid to apply black and white palette to other work. Black and white can be applied in Brandon editorial posters and is very popular within the fashion industry because it gives a clean, elegant feel. So don't be afraid to minimize your color palette, give black and white ago and see how you guys get on good luck and I will see you guys on the next video 30. Day 28 - Circular Composition (Ai) #28/365: - So I have a few different courts here or like, sayings that I wanted to start out with. So first of all, you got this one that would have been a nice one. But I realized that it didn't work. Or you will see in this example is that I really struggle to start this off. Although I had an idea how is going to work at the end? It just didn't really want to come together. So I actually even had to change the courts and choose something a little bit longer because it will just work better at the end. So was I have the quote again. It wasn't as clear how I'm going to make this work. So I I am working as you can see, the these shapes and it's always good to work with geometric shapes because they help to unify the design. So obviously a perfect circle is a very commonly used element, but to make it a bit more interesting and not just confined everything in that circle, I started to add this polygon, which will which will work to break out from the circle and to give it a little bit different shape. Essentially, I wanted to get to like a badge design. Um, so that's what this is coming, too, So you can see already. Now the composition starts to get stronger, and and I'm seeing 100% sure what I will do at the bottom, whether it is going to end up in a sharp corner, like almost like a triangle added at the bottom, where I'm going to keep it as a circle there. So it's still sounding that I'm not 100% sure on. But I know that I'm going to include icons on the top, and I know I also need a strong color theme. So you see, normally I worked with four colors. You don't need really more colors and that most of the time to make a design like this work . So these four colors in combination should create and very engaging and nice composition. So, really, what's important is to have at least one dark color that you pick for your color palette and at least one bright. But it's probably better to have at least two bright colors. Maybe one of them can be brighter than the other one, and then you can have a me tone color. So in this case, over that dark navy is the darkest one, then readies the meat tone color, and then we have the other two colors, which will work more for highlights. So as long as you set up your color palette in the beginning to in, just having this in mind is going to help you to make it work, so you will see me changing them around a lot and even natural shape. I'm still messing around with deciding how I'm going to fit everything together. Um, and the colors will continuously change on the elements. The actual colors won't change just where I use them so you can see already it starts to come together and were very important element. That, I added, is working with outlines for those icons on the top. And it's not actually the way it looks right now. It's going to improve even further. But that's just a very important element. After again make those icons more visible and tying together with the rest of the design. So when it comes to working with quotes like this, try to really emphasize the most important word So in this case, it was the ville. Um, it's the real, not the skill. So the least relevant words like it's the and then the at the bottom between not and skill . These are the least relevant one. So I kept them the smallest, but they always they still have to be legible and readable. So that's why, um, it's still good allege ability on them. I'm using two different funds. So again, it's a combination off to funds that work nicely together. And I'm using these articles that relate to work in general. Um and ah, that's what I have on the top. And I'm just tweaking their sizes and make sure that I have a good balanced composition. So both sides have roughly the same amount of detail, Um and, ah, and colors. And you can see that I ended up using the read only as a highlight color for the center and also for the pin on the top. So that ties it nicely together and in general, I'm quite happy with the result. But ah, most importantly, again, like as most of these videos in the series, um, I created this and recorded this whole process for you to understand that everyone, no matter how experienced you are as a designer, will go through changes and constant evolution off the design before it actually gets their final stage. So that's completely normal. And, ah, it just tries to inspire you and help you t to feel more comfortable off doing the same yourself. 31. Day 29 - 3D Frames (Ai) #29/365: - Today we will be drawing folded frames or speech bubbles in illustrator. And you can see me already. I started doing this with the pen tool. I'm drawing First war, just thes random shapes. And then I try to refine them to make it work. So I decided that I have will have a couple off folds to make this more interesting. And using the direct selection tool, I will constantly keep changing them around. And also, I'm going to use the moving in front and sending to the back options to decide where these shapes should be. So we have a primary shape on the top, and then we have the first fall behind second fold after that and the fourth little tip at the bottom. So they're already starts to look like three dimensional design. But of course, it will actually start the work once we apply Grady INTs on it. And that's the key. We learned to work with radiance in previous tutorials, but in this one, I'm going to focus on working with linear Grady ends and specifically to achieve three dimensional feel. So what you can see is that I'm still adjusting these, uh, point with the direct selection towards the anchor point to make sure that it looks OK. So it's in perspective cam work, Um, but you don't really have to spend too much time in the beginning on that because it were really matter. Once you actually have your Grady ants in place as well, their first. I'm actually not use ingredients, just simply two colors and even that two colors as long as you choose the right colors will already help to achieve more depth. So by using the brighter colors on the one on the faces that are closer to us or planes that are closer to us and using a darker version off the same color on the full dead ones that are going away from us immediately, we feel like mawr over a depth. So it achieves a bit more off a depth on the design. So simple things like that you have to pay attention to, and they really makes a difference in your design. But then I decided to go with a radiant. So instead of just using a single color, I am going to use a Grady and and notice that I added this. If you look at my appearance panel, I did. This is a second feel on the object, and I've set it to multiply. So we have our original color, the the orange color, and then I use second feel on top off that, and with the combination off these two, I create the result that I need. So I'm using now the Grady and Tool. And this is go the Grady and annotate er with which you can set the direction simply by clicking and dragging and then it just where you want those, um, of color stops to appear on the design. So when I reached this point, I realized that it's actually two similar, so we don't have enough difference between the front and the full date part, so I will have to change that. So I need contrast, even though I want to keep it very similar in color. Essentially, this is the same, um, same object. So it has to look very similar, but still we have to have a good, strong contrast there on the edge. And because I'm used ingredients, I also try to capture that ah, three dimensional aspect off having the darkest details closest to the Fords, so the edges where there's the least light would be able to hit those areas. So it's other things like that, like the direction and the intensity off, the greedy and really matters in these cases. And you see, once I have the greedy, insane place and I'm happy with them, then I am still tweaking the anchor points, using the direct selection tool. I'm making selections because there's multiple objects. I click on them like that on making the changes. And if I need to make changes to any details that are not visible in the background, I can also use the outline view. A few times I switched to that That's command while controlled by on the keyboard. But I think in this case I actually ended up using something like that and then to quickly create a different color version. I duplicated it or click and drag and then using the re color artwork connecting the colors , the existing colors with the little chain icon, I quickly re created it with. This is more purple color tones and in the final design, if you look at the time lapse video, you will see that I actually have three different designs, but they are all created with the same concept, so I hope this was useful as well. So there was a little bit about achieving three D without working with three d Ah, and simply just relying on shapes and the radiance in Illustrator. 32. Day 30 - Ripped Effect (Ai) #30/365: - so today, what I'm going to do is a simple composition that is about sleeping or going to sleep. So I actually ended abusing F stock photo for this composition from Adobe Stock, and I wanted to spend some time on talking a bit about working with stock photographs. So, of course, you can find lots of free stock photo sites like picks. A bay is one of my favorite ones on for vector graphics. You can use free pick, for example, and these are great and there's so many off them and we will be keep mentioning them and also obviously, including the links to these sites in this 365 days of learning. Siri's um, But Adobe stock is an interesting one, because since Adobe introduced this and made it available to work with all the creative child applications, it became an integral part off their services. So you will see popping up in a lot of different places as features or, as just general offers. And if you haven't tried it out yet and you are a creative cloud user, then you will be able to get 10 images for free just to tryingto have how it works, and it doesn't have to be images. It can be graphics as well, or even motion graphics or three D objects, because in the adobe stock they're offering a lot of other things, not just photographs, but essentially the way it is. A useful service and compared to especially the other stock photo sides, is that it's fully integrated with the creative cloud. So you will be able to browse directly from within your applications using the C C Libraries panel. And then once you find what you're looking for, you can preview it. So try it out as ah place order in your composition with the watermark on it. And then once you are happy with the result. And let's say, in this case, if I wasn't sure about the composition, I could just try it out first and only then, in the end, I can buy it. And then, of course, he will update, and it will use a high resolution license photograph coming back to the composition. What you see here is that I created this tourney paper in fact, over the eyes so we could can actually see the face. But I made sure that we see the expression, the yawning and tired expression with the coffee mug, and I just love this photograph. That's why I decided to actually purchase it from Adobe Stock. I am still looking for the best composition in terms of how big it should be and where the text should be. And, of course, the fund. So for the fund again, I'm using another feature or service from, um, Adobe. It's got type kit again. You can have up to 100 funds downloaded and sing to your computer, and then you have the license to work with them, but only a hundreds off 200 at the same time. Now here's what Something very interesting what I'm doing. I am using Lear styles, bevel and emboss. But what you see I'm trying to get is a very good edge detail that gives me that Thorne paper edge, and I realized that all the preset curves that we I have their homework, so I actually customizes, so that's what you can see on the right side of the screen. I clicked on the contour that does like a little history Grandma diagram. You just click on that and then you start to define the ad you prefer, so dragging down usually ends up having darker details or shadows. Drugging up is making details brighter so you can see I'm creating this custom curve, and that actually gives a very good thorn paper a fact. And I am just going to reuse the same effect on the top as well. Because I have two parts. I had to split up this original paper effect into two parts. Now, as you can see, I just copied over the effect and I adjusted the angle slightly. So now that we have these two, um, details, they're both on the top and the bottom. I just decided that I will add a little bit of blur. I'm using motion blur for text just to make it look like it's a bit like blurry and vague, as if you are just waking up or you are ready to go to bed. So that's a very simple composition. Andi. I thought I mentioned a bit more about or talk a little bit more about the Adobe Stock Service, but we will be coming back to it, and you will be seeing us using it more often, although no for all of the project. But hopefully this was an interesting and useful example. And you've learned something from this to told her tutorial. So I will see you guys in the next one tomorrow. 33. Day 31 - Simple Logo Badge (Ai) #31/365: - So , first of all, we had this they about inspire your heart with art. So obviously, I wanted to incorporate both of these aspects of art and heart in the design. So, um, I drew everything from scratch. You could see me drawing the heart on and then the pen icon And then I started at the funds . Now So, um, whenever it comes to working an illustrated, I prefer to first prepare all my elements and then start putting the composition together in this case because I knew that it's a very simple, quick composition. I didn't even prepare anything. So I was just going with the flow and adding things as I went through the design, which not necessarily is a good thing, because it actually might take longer to end end up video final results this way. So one interesting thing I did hear waas to add that, um wrap a sorry, that war perfect that you would normally use with tax warp in illustrator um I actually created a circle a big circle and place the text on that just to have a perfect curve and ah, to avoid distortion on the text. So if that's something you're not familiar with. Just watch the video again, and you will see exactly what I'm doing that you might need to slow it down a little bit even further. But that is always giving you an known, distorted version off the tax if you are using a shape and then put the text on the outline off that shape instead of using the warp taxed option. Now for the little ribbon, I'm using a very similar technique that I explained in a previous tutorial when we did the folding on those speech bubbles. But here it's a much more simplified version off that, And when it comes to working with text, it's always good to already think about where you are going to place your words and, um, the reason why it's important to think about that in the very beginning, because to have a symmetrical Val balanced composition, um, you need to think about the placement in a way that it will have to fit in those areas like here, with the ribbons you can see, I constantly adjust them because I changed my mind. Instead of having the video art at the bottom, I am placing that on the right side. But then I realized that your heart those two words off the bigger and way longer than the actual rebounded with art. So I'm struggling a bit to make it work, and, um, you can see that it's not balanced, so it's not symmetrical, and it's not going to be symmetrical unless I figure out another way off placing the text. So to change my composition, I decided I'm going to make the heart smaller, get everything slightly closer to each other. And, ah, once again, I have to increase the size off that ribbon and trying to cheat. So it's really about picking the right fungi even might help so using a more condoms phone that I ended up using here, the Babas Neue Fund helps Teoh to get away with the different with on the to ribbons there because because of the condensed characters, the difference is not as big as it was before. So I think it's all right. It's not perfect. I would be able to refine it further, but instead all I did here is to create another curve at the bottom. Just do again, have the whole thing held together and create again a bit more symmetry, both with the top and the bottom as well. And instead of just having a single line there, I decided to add add dashed line. And what I'm messing around with here is the the profile off that line, So I'm changing it around a bit. But then I realized that I just want the simple, dotted line that at the bottom, so simply using the stroke settings for that with the dash line and the lowest point sighs for the dots gives me this and always to just increase the gap size to get the amount of space between your dots, whichever of works for you. So once I have with my elements in place, I just make it really with more tighter and align things a bit. Maybe make sure that they are all in center and then just get the whole composition together. Working 34. Conclusion : congratulations for reaching the end of this year. Long course. It's a massive achievement and we hope you enjoyed it as much as we enjoyed creating it and have gained planting off useful new skills. Don't forget to do the creative assignments as they will not only help you to practise the techniques you learnt, but also to produce designs and illustrations to be proud off. If you found this course useful, please leave a review on it to help us produce more courses in the future. I hope to speak with you soon, and until then, have fun learning.