365 Days Of Creativity - Month 10 | Martin Perhiniak | Skillshare

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365 Days Of Creativity - Month 10

teacher avatar Martin Perhiniak, Design Your Career

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

37 Lessons (3h 15m)
    • 1. Welcome

    • 2. About the course

    • 3. Day 1 - Palm Leaf (Ai) #274/365

    • 4. Day 2 - Moulding Colours (ProCreate) #275/365

    • 5. Day 3 - Color Pairs Part 1 (Theory) #276/365

    • 6. Day 4 - Poster Placement (Ps) #277/365

    • 7. Day 5 - Papercut (Ai) #278/365

    • 8. Day 5 EXTRA

    • 9. Day 6 - Behance (Theory) #279/365

    • 10. Day 7 - Asset Export (Ai) #280/365

    • 11. Day 8 - Moodboards (Theory) #281/365

    • 12. Day 9 - Cast Shadow (Ai) #282/365

    • 13. Day 10 - Multiple Masters (Id) #283/365

    • 14. Day 11 - Levels (Ps) #284/365

    • 15. Day 12 - Friendly Fox (Ai) #285/365

    • 16. Day 12 EXTRA

    • 17. Day 13 - Tracing Layer (Ai) #286/365

    • 18. Day 14 - Design Areas Part 1 (Theory) #287/365

    • 19. Day 15 - Geometric Art (Ai) #288/365

    • 20. Day 16 - Sunrays (Ps) #289/365

    • 21. Day 17 - Twitter Logo (Ai) #290/365

    • 22. Day 18 - Design Trends 2019 Part 1 (Theory) #291/365

    • 23. Day 19 - Image Brush (Ai) #292/365

    • 24. Day 20 - CMYK vs RGB (Theory) #293/365

    • 25. Day 21- Contour Lines (ProCreate) #294/365

    • 26. Day 22 - Grainy Shading (Ai) #295/365

    • 27. Day 22 EXTRA

    • 28. Day 23 - Ligatures (Id) #296/365

    • 29. Day 24 - Less Anchors (Ai) #297/365

    • 30. Day 25 - White Tigers (Ps) #298/365

    • 31. Day 26 - Design Rules Part 1 (Theory) #299/365

    • 32. Day 27 - Concentric (Ai) #300/365

    • 33. Day 28 - Shading (ProCreate) #301/365

    • 34. Day 29 - Fur Effect (Ai) #302/365

    • 35. Day 30 - Swap Hair (Ps) #303/365

    • 36. Day 31 - Organising Illustrator Files (Ai) #304/365

    • 37. Conclusion

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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! 

Meet Your Teacher

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Martin Perhiniak

Design Your Career


Martin is a Certified Adobe Design Master and Instructor. He has worked as a designer with companies like Disney, Warner Brothers, Cartoon Network, Sony Pictures, Mattel, and DC Comics. He is currently working in London as a designer and instructor as well as providing a range of services from live online training to consultancy work to individuals worldwide.

Martin's Motto

"Do not compare yourself to your role models. Work hard and wait for the moment when others will compare them to you"

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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 - Palm Leaf (Ai) #274/365: - I think the most interesting to features that I covered here was using the racer toe with pressure sensitivity. So when you have a tablet, you can use that together with the the tool. Any time you want to customize a tool in illustrator, remember to double click on the tool and then the settings will come up. So if you are only working with a mouse, you won't have the option to use pressure. But as long as you have a tablet, a pen tablet connected, you will be able to set pressure and make use of it, meaning that the harder you press the tablet or the pen, the bigger the brush gets in this case. Four. Changing other attributes off these tools so you can see when you said this to pressure, and you want to specify the maximum size here on the left. And the variation is basically how much intensity you want off the pressure sensitivity. So the higher the variation, the bigger range the pen pressure can hold. So basically from everything to very hard or very big, it can very so that's that's useful. Teoh look into but even video pen pressure, so even if I just sent this to fix. This is still a very good tool toe work rate. So if I just click OK, here, you can see that we have a brush size, which I can still control with scrap brackets on the keyboard. That's almost like a universal short gap for brushes, also in Focus shop and illustrator, and you can see how quickly and easily we can carve into our illustration. So that's basically how I created all of these little gaps in the leaves. And the other thing worth noticing is that if I don't have anything selected and use the eraser tool, it will actually delete into all of the elements even those parts that I have that for the veins of the leaves. But if I want to make sure I only delete into a certain element, it's worth using the direct selection. Also, Wide Arrow click on the element would object that you want to be a ways from, and then shifty is the short cut off the eraser tool. Now, if I cut into it, notice how it only deleted from that detail, but not the other element. Of course, in this case, it wouldn't make sense to do it, but I just wanted to show how it works, so that's pretty much away. Then you need to know about this tutorial. Maybe one last thing to mention is that you can see I have parts here like this one that I just selected. And the unique thing about these parts or this one here is that I used the with tool on it . And if I zoom even closer, we can actually see this better. Or if I just separate this from the rest of the design by isolating it DoubleClick until we have it isolated Shift W to get to the fifth tool and with tool works with the width profile, which you can very quickly change here as well. So if I want to set it back to a uniform with it goes back to that, I can set it to this one. Where it starts, small, gets big, and then it turns back into small again. These are standard with profiles. Also, this one, which I actually used, is the one that starts big and then goes down small, the the biggest size you can control by setting the stroke size so you can see how it will go from one extreme to the other and very simple to also customise further because you can go over these points here, increase and decrease those points. You can also click and drag to add additional points so you can have as many of these points as you want. You can move the wreath points along the path as easily as that, and you can even hold down the shift key. So you're not shifty or key to independently change sides, because by the fourth it's symmetrical from the path itself. But by using the old, you can very bad sites. And if you double click on the point, you can even be more specific. Side one and side to you could be like millimeter accuracy. Yeah, exactly. I can Typing. Sorry, Went Oh, no, I was just gonna say, this is a great This is a really quick way to get really natural looking at this like illustration something like a plan for an animal that instead of messing around too much with, like your ankle points and stuff, this is much more like specific, an accurate way to do it. Yeah, it's a good point for organic things. It helps to make it more fluid than more natural. Um and yeah, I mean, this is fairly self explanatory, but off course you can also delete these points. So if you don't need a point anymore, you can double, click and delete it or selected and press delete on that will remove it. So that's it. And just wanted to show quickly an example off different Palm leaves If I open this file up , this was the inspiration that I used. It's a fire from feet free pick. They have really good quality free stock assets. Rector assets I would go normally to fit free pick will be. I think we only use it for Vector administrations because I think they are amazing about while I prefer picks obey for photographs, and there's a couple of others like Burst. But do you guys used? Yeah, but it's good. Oh, yeah, yeah, that's good as well. I think there's another one. I think that it was of Exel's, or is that that's better back there isn't Max sores and recognizes the next Yeah, also similar to this but free pick I think by far they kind of still the show favorites on . We use it on the design magazine a lot. It's just really good quality illustration, and we can see it's it's similar way that these were well designed. So Palm Leaves are actually not that complicated to draw, so but they can look really good. And obviously, I think it's starting to fade out. The trend with Palm leaves always it's still going, I think is more for spring. Of course this. Yeah, yeah, we have this conversation earlier. I still think it's on trend. Yeah, obviously, Now, now, autumn of colors and all the time Things Aryan more. We should have covered this in the summer or spring, but it's still going. So the trend is still there and the techniques are universal. Yeah, definitely. And I think, like generally as well the trend. The trend towards like plant life in succulence and seeing those kind of themes in illustration and on products for your home is still really strong. Eso 4. Day 2 - Moulding Colours (ProCreate) #275/365: - here I have my iPad in front of me and just showing it to the camera as well. And this is already an example that I used in the tutorial as well. So they're on the right side. We can see the version which was distorted, but I'm going to select the one on the left side. So let's just select this guy here, and I'm going to show you very quickly what we can do. So the these are new features in Procreate 4.1. I think the version is where they were being introduced. These options. So when we use the selection toe, that's the little hair on the top left. That's when you will get all the different ways of distorting things. So the 1st 1 is just simply called free form, with which you can just use gestures on the iPad and increase decrease the size. That's fairly simple Now. You can also switch to distort more with which you can start the story thing, and this is more like perspective distortions, so each corner you can start amending, but then we can switch to warp, which is like the work models when for the shop, and this is very handy because now we can use the curves and also just click in the center . And it almost feels like the real monster is turning away or turning towards us. It was like a little animation, Um, but what I love is that they also have an advanced machine on the bottom left. Once I activated that, not only the points can move around, but also you have handles for each of the central mash points and see how much, even more realistic this turn feels like. So it's it's Ah, it's much more, I would say, more professional this world than the one we have in photo shop. I agree. So this, especially the advanced masher version off it now that this is still not all, because if I just select again the selection tool, I can get out of this more. Within the adjustments, we also have a new feature called Liquefy, which is again similarly for the shop can distort the the brush, the details and here at the bottom, we have all the different ways off distorting the object. Most commonly, I would use the push because that's again like the forward warping in photo shop and with this one again, if I just zoom a little bit closer, I can start moving specific details around, so I can not say if I want to make the tail a bit longer, I can make the brush size smaller, and then I can just drag the tail out on Dykan, even at the little band on it, so you can be very creative with these techniques. It's almost like sculpting when you are using the liquefied. Let's just turn it the little bit. But if you don't like the design or you don't like a detail that you've done, you can just set reconstruct maybe with the bigger Bart brush size and redraw it similarly again, Teoh what we have in Fort the shop. What I Love also is, let's bless your say if I zoom at the bit if I start pushing things around. So if I use the push and I create a different design off, this little creature may be a bit more like a triangular body type. It's a great way to experiment with how things would look if you decided to do a different version off the same design or just simply see whether that works better on enough for your character. So we've cracked the design and in in general, every type of design shape language is very important. Working with basic geometric shapes is always making your design more appealing and easy, Teoh, like understand. So you can see the original design was very spherical. This is more triangular. And then you can have, like, blocky characters as well. Yeah, so these and of course, you can combine them. But these are very common. Yeah, I think is, well, it's a really cool way, I think is well in cat, Son, if you're gonna have, like, a group of characters like consistency is really important. So with these techniques, you can kind of start off with one with one character and then duplicate on. You can literally distort it until it becomes something almost completely different. But it's still lends a lot of the similarity from your first character, and so you can create three or four that have, like, a nice fluid look. But aren't you similar? You have been a lot less time invested. Yeah. Yeah, exactly. And just like just one last thing I wanted to shore is they also have a fade option. The adjust option here on the right, with which Look at this, we can go in between the two versions so we can check before liquefy and after, but not just simply under greedy or using the reconstruct. But we can have like in between. E. I love doing this right. It will be so cool if they can. And the meat. Well, to be honest, you can record your screen like what we are doing. A minutes animating it. But having said that, they also improved a bit that time lapse feature. So there is the export time lapse video. Now you can use full length also, the 30 seconds which is good for Instagram, for example, on Denny Cycle. Yeah. So they're really, really clever love. I love procreate. Do you use it all the time as well? You? Yeah, 5. Day 3 - Color Pairs Part 1 (Theory) #276/365: - We all know color is so important in any any sort designed from what we were to what we see, Andi, I wanted to share some inspiration off some color combination that always tends to work. I'm gonna talk a bit more about the meaning behind the colors. So in this case, I love green amping combination. I think is really feminine really soft and people on. I think these are an amazing example of how and a pretty can look but he's quite feminine. So yeah, I think this is great for tropical design and someone lives definitely very nice colors on just just in general, like when you're using more muted colors like here The pink is not as vibrant. And also even a green is not like a very strong green Immediately feels more natural is in in nature. You wouldn't see the strongest green. You wouldn't see the strongest reds and things like that s oh, it feels again goes with the net natural feel on that Nice soft? Yeah, less I think in agreeing green represents peace and harmony and there is a really good website called Khalaf psychology. I would definitely recommend for you to go and beat the meaning behind colors because you can really understand and can help you in your wife. And also just understanding cultural differences. What is really important? Yeah, I think you've read a book recently about the difference in colors and how a color in and the Western world means completely different to how is represented in Asia. For example, red is like your color off wedding in like South Asia. Like my initial India. Where is in Europe? White is useful weddings. Where's white represents death in that community, so you just have to be culturally away, off, color on and use accordingly based on religion. Andi uh, geographical differences in general, that's really interesting. The death is like in Europe and Western countries. Black is associated with death, while in Asia, most parts of Asia is the opposite. Is wife Is that like interesting? Yeah, for funerals. People would wear white and people are buried in white clothes, whereas in the European for weddings dresses, it's cloaked different. You just have to understand the differences. Yeah, it's important to be aware or visitor in general just so that the work you create fits into the context is going. So if your commissioned, especially because globalization is so big and now we can work for people that are on different continents. It's important to be aware of the culture that they exist in your work to represent that culture as well. So it's a really good point. Well, we will link the book, I think, is a really good book about cultural differences about Yeah, I think they're going back to these examples, which, on the video you can put, will have a better understanding off each of the meaning behind the colors on. We also have a block on color combination and more about the psychology of off color. So China, yes, blawg but had these are just in every color combination that I love, and I think they work on their quite feminine. But this is my soul. Why I'm drawn to, I think, is well. When you first start working with color Onda, type in anything that's kind of hard to wrap your head around. To begin with. It's good to have, like a set palette or a certain amount of type or elements that you using that you feel safe using and then you're kind of the more you use them, the more you'll get a feel for what other colors you could introduce or what other elements introducer. These are a great starting point for making illustrations or editorial or really anything, and then you'll get a feel for what's working on. Maybe start adding some of your own in ous Well, exactly on. We've also listed a couple of sites that we think is great for gain, inspired for color, especially a person so new and you want to understand more about column, maybe check out Mukula where you can. They actually renamed it the Color Now. Yeah, sorry to be cooler. I used to be cooler. Now they just simply call it Call up CC, and this is a great side where you can understand more about the color. We'll get the color codes in both RGB and hex and yeah, and then we can also import import the images. Let's just say I import this image and immediately picks a color theme from it, and you can save it as a color theme into your library so I can download it as an adobe Swatch exchange file, which can be used in all of the adobe applications. So on this, this is a great if you're creative cloud member. I think this is a good sign to start using because it's part of you'll membership. But if you are more brave, maybe check out color hunt. He is by Gulf Fear. He's an illustrator, an amazing one as well. On his color uses always on point, and he's tends to upload a collect palette every day. You know what you can download, and you can see how thes are amazing combinations. Next time you're stuck on color harmony or when you don't know to use, maybe check out his pallets, you can download them on. We can just take a screenshot color. Pick them. I love the cheeky little logo as well. So it was the guy. This is really nice design. He's He's generally a really good illustrator. I can learn a lot from him. Unusual. Nutri Boswell, on an instagram on a zay, said his color combinations are always on point. On the recently we discovered another cycle. Thank you again, you can just like like you go type anything and finds you color palettes, love the animation on the right. Yeah, yeah. You can see the hack schools as well already. Let's say if we are looking for forest like for oh, very nice. And then again, you can use thes millets that there. So you mean it shows a village that's really clever and that you can keep the image that I don't hide the image get very nice if you are. If you If you love Allah and us, you are good at combined combat coal mining colors, pallets. Maybe you can create sites like this or share it because it's a really good way to market yourself. People love freebies. Cool. Very nice. 6. Day 4 - Poster Placement (Ps) #277/365: - thing is the way that you can use layer comps within smart objects. The tutorial itself is about creating a placed design within, like, a moke up or or any anything like this one here. Um, but more importantly, what I wanted to show here is that the technique itself is fairly simple. You just make sure you set up a smart object first. Then you distort it in space, using the warp and perspective distortion. Then, using also a greedy and overlay, we can have a little bit off more like shading on the the image. By the way, whenever you use layer styles like this one, don't forget that once it selected, you can actually move it with the mouse over the designs. So that's always useful. But this is the crucial bit here that the reason I recorded this example is that if you open up your properties panel within the properties panel, notice that I have two versions against which to post a one and I can switch to posted, too. By the way, both of these posters are done by gaps. We also have an interview with him on our block. We've done a couple of years ago, and he's an amazing Polish digital artist illustrator on he does. He's like family posters off movies on mainly movies and games sometimes, but yes. Oh, the again for that. For that. For his portfolio, we have a link on YouTube, but you can also probably have mobile have telling somewhere else as well. What I wanted to show here is that the way you set this up is that you go inside the smart object and within their over so you can have as many years as you want here. You won't see the distortion because the smart object importantly was saved before distorting these images. And then once you put your at images in, you have to go back to the in this case to the layer comes panel, and that's where you set up your comps. So, for example, poster of one is this and posted to is that so just simply saved them here. And as long as it saved within the smart object outside of the smart object from the Properties panel, you will be able to go back and forth between them Nice, save so much time without having to export different variation separately and have been like if you wanted 45 examples of making for five files. Is there a limit? Little toe? You could just go on and on because at so many times I wasted time and I get confused. I created so many PSD files. Everything can be just anyone so very handy feature. It's a combination again or smart objects, and the Lia comes feature, So try it out yourself very simple to set up, but can save a lot of time. 7. Day 5 - Papercut (Ai) #278/365: - I think this is another trend that we noticed a lot off different ways of using this in adverts and all kinds of different designs. But the version that I've done was using a latter letter M in this case as a container and then having all of the people leers reading that letter and also popping out of it slightly . So the poor point here is that we have a clipping path in here. So in this group, so if I just turned it off, you can see that without the container, that's how it looks. And with the container, we could see it together on each of these layers would have either an inner glow set to not screen. But multiply is basically I can in a shadow, because in Illustrator, you don't have inner shuttle you have to use in a blow. But that way it works like reading the shape itself. You will have a shading, or you can use this other version, which is the drop shadow. So if I select that shape there that has a drop shadow, which is outside of the object, and that's my boy, the combined both I mean you don't have to, but sometimes it's easier to keep it within the shape. The shadow like these are all inner glow. And then we have this one, which is out drop shadow drop, shadow drop, shadow adoption. So, yeah, that's him. It's cool. Result causes released to keep track of what you've used. Just using the appearance panel. Like when you click on something that has a drop Shadow applied, it'll show you and then a glow effect. It was shown s so you're not gonna get confused wondering what effect you've applied work. Yes, it's You can Yeah, you can see my my interface. They are used illustrators. I have a big space for the three years because I love to see exactly what I have as the first point when I look at all the elements that I have. And there's very subtle things here that worth paying attention to like that underlined layer name means the clipping mask always so very quick to find field circles means that they have effects on them or multiple feels of strokes. So they have the more complex appearance shapes, while the empty circles are just empty appearance or just a simple stroke and feel about no additional stuff on them. Eso yeah, layers have to be big. And appearance panel is a must. And they also added properties recently into Creative cloud within illustrator. And it it is something definitely. I keep open because it has a lot of useful stuff. Yeah, I really like properties penalty. 8. Day 5 EXTRA: The most important thing with this effect is that you are building up objects on top of each other and you're using two types of effects. One of them is called drop shadow, and the other one is called Inner Glow. Now you can rely on using one or the other, but I like to combine these. And in this object we have inner blow used up to, I think up to here. Yes, on the left side. These are all inner glow you can see. As I said, like these objects and then on the right side, we have the drop shadow objects and basically this greenish color in the middle is the halfway area that's like in the middle. And these that I placed here feel like they are going deeper because they have the inertia on them. And these object here on the right, they feel like they are above. So they're going higher eventually, like coming out off that bounding books because off the drop shadow. So if you're using drop shadow, it will feel like you're building on top of your previous subject. Very using inner shadow evil feel like they are carving down into your layers or levels. So to show this very simple, in a very simple way, I'm going to use the pencil tool, and I'm just going to draw a blob. Okay, Now let's select the color. Maybe this purple color here. Then I'm going to draw another shape. Okay, Now, if I want this to feel like it's being caught into the other shape, Okay, I'm just going to hold on the altar option key to smooth out this shape, and I will pick another color show. Just what you can see, how it looks. So we have these two shapes on top of each other. If I add drop shot on this, it will feel like this is on top of the previously Lear. If I had an inner shadow, it will feel like it's been carved into the other one. So let's see with the inner shadow, Maybe I'm going to select it from here. Stylized inner glow. And yet that's bad ways. The important thing that there is no inner shadow inner glow is what you need to use in illustrator inertia that was only available in for the show. But here we use inner glow and we can increase the floor amount so it seeps more into the center off the shape. But what we need to use is in still off screen. We set this to multiply, and that immediately turns it into a shadow. Basically, and all we have to use is just the darker color, maybe something like that. And there you go. We can already see how it works. Now we can make this doctor as well if we wanted to, and we can reduce the opacity, but we can also reduce the blur amount. Now I like to use a bit lower blur Fact, something like that, because that way, um, it really feels like we have something carved into, uh, the other shape. So this is with dinner shadow or inner glow. But let me turn off the inner glow, and I go to affect menu stylized drop shadow, this time a turn on preview and we can see straight of a the effect off that. Now, if I move the offset around here, I can adjust the direction off the shadow so I can move it to the left, right, By the way, I'm holding down the shift key when I'm doing these movements, so it's moved a little bit faster. I can also keep it exactly where the previous shape what? So it feels like the light sources directly above um and I can increase the blur if I wanted to. And I can also change the color so I don't like to use black for shadows. I like to use more like subtle colors. In this case, Blue on that creates more like an MBM, um, shadow as well. So now you can see this. It feels like it's above the previous shape viol. If I switch back to the inner shuttle, I can turn off the drop shadow. This feels like it's carved into it now, of course, to make the illusion better if I want to make it feel like this is deeper than the other one. The other detail I can make the colors reflect that as well, and maybe have a darker color for the deep hole deeper level. So we have brighter on top and then darker as we go down. But this is not necessary. I mean, you can do it in all kinds of different ways, and you can see how it works within a container. And by the way, creating a container from a letter is very simple. I'm just going to maybe duplicate this one more time. Just rotated around a bit. Okay? Just we have three layers, and then I changed the color off this to something even darker. Okay? It has thean the glow on it, maybe have something like a different shade. So and so if I use a letter, let's just say, um t in this case and I'm going to change the tax too. Maybe this phone. I think this was the same front I used heavy tests. Is the name of the fund I quite like this one. I worked with you quite a lot. So the way you use this as a clipping mosque is that you simply select everything and you press. Come on, seven. That's going to turn the top most shape into the keeping mosque. And we can see it's a clipping group been in which this is still inevitable. Letter and or the shapes inside it are also eligible. So if I make the text or the letter t larger, we can also move it around. But we can also double click on it and edited. So if I selected that, I've been, maybe are then it's still going to work. So that's how simple it is. And, um, that's basically what I've done here. So let me know if you have any questions about this technique. Um, this is something that if you look into paper cut fact, you will find so many different amazing illustrations. It's definitely one off those trending styles that we will be seeing for a while. And it's good to learn the technique, how to do it and, of course, is best doing illustrator. Because, um, every element is creditable and easily adjust. You can adjust everything. I wouldn't do the same photo showbiz. Definitely something best to do an illustrator. 9. Day 6 - Behance (Theory) #279/365: - We kind of thought it would be nice to show you guys kind of more like practical areas of design like that. Some of the research, some of the color theory behind it, say be hands is something that I use kind of daily, and I think you're so you may as well use it kind of like daily and find it really good for lots of research. I find a lot of stuff on there to post on our instagram channel on our Facebook and Twitter and stuff. I'm really just in general to keep an eye on life. Great work that's being published all the time is completely free to use. You could make an account. If you have a grave crowd subscription, you automatically have an account so is really worth doing. You can spend your homework, but you can also find some great artists that will really inspire you. So in the tutorial itself, I show you how I would go about conducting research so I'd click, discover and then had to created galleries on then. This is great because it kind of lumps. All of it lumps projects into a specific gallery so you can search by what you're interested in. So if I'm really interested in illustration, I can go there and know that I'm only going to get illustration projects. I'm not going to get it kind of bombarded with, like, moving image. Anything else? So it's a very focus research. Exactly. So if I'm if I have got loads of time or I don't want to spend loads of time perusing, I'm just looking for something. It's great on again. I can narrow that even mawr toe like character design, which is really handy, and I show you exactly how to do that. In the video today, I thought it'd be cool to just mention a few people that I'd like on follow s if we just head back. So this illustrators based in Amsterdam, you can see it. She's got, like a have been following. Yeah, and the reason I really like her work is because it's it's quite. She has quite a diverse range of projects, which is always nice to see on my feed. It is good to get a lot of different visual styles looking through when you follow people keeps you inspired, even if it's not directly what I would produce. They're still good to see what she's up to. So for that you can see, like how work is a very different Andi. She you know, she gets quite a lot of use and stuff, so you know that a lot of other people appreciate her work, so it's important to mention that on be hence, you can create war, become part off teams as well. You can join teams and she is on, like three different teams that women artists v hence on modern opt our team. So that's that's very useful. And we actually also recently started out on team. Yes, I'm a designer, so it's good. Good to know that if you have already a portfolio on the hands, you might work together with others. Collaborate often and maybe you want to have, like a collective team on me hands where you can share and include those collaborative projects that you worked on. Yeah, and I think one of the things I use it for is a baby portfolio which is part of your membership. If you are on creative Cloud, you can use support for my whole website from a day people feel it is easy to function. I can sink my profile a profile or, you know I'm thinking, but it's just a really good way. If you wanna present your poor 40 old or your work in general, you can use adobe. Poor four year feature is free if you remember on that the interface is amazing and so easy to use, and it imports your existing projects already. So you kind of save yourself the time up, re uploading something on another side. You can make your really nice and personalize as well. So, for example, just a show. But if I don't want on the portfolio version to show the 3 65 collections that we created, I can very quickly disable or re enable again. So it it is sinking everything from B hands, But you can still customized the order and what to show what not to show any and even the link itself. You can have your own name on. It doesn't have to be more for your baby, and you can. If you aren't photography. It's worth mentioning that you can also synchronise albums from light room, so a light Room CC's obviously or cloud based now. So everything that you create that as albums you can synchronize directly into this room I'm going to set up. I didn't realize that she's really, really good. And like I said, this is user friendly, Easy to especially if you're looking for work. It's just a great way to great presentation without having to create wealth. Press site to a lot of no use something else that's a bit more difficult to get used to. Yes, yes, the most important thing you want to save time. So be hence, is where you get probably more exposure directly on B has put posting or your work but showing it to clients and having something physical that you can have when your phone your tablet, your your laptop is probably better to have portfolio because it obviously it has ah mobile app version as well. So once you have it set up, it will have an APP version, which is even more sleek and professional looking. Definitely, as as a designer, I think, is very important to be active online and we always encourage this, you know, start using the hands to promote your way, not desert to get work, but it is good to have something physical that you've done to show people. Definitely. Onda in a B hands or dribble is a good one as well, which we'll talk about later on. But yeah, this is a good start, using these, just quickly showing the other two artist and I wanted to mention on, say again, this is kind of an example of a completely different style of for murder again, which I would follow because that this guy's work is really interesting. He's worked for some big, big brands, which is cool, and I'm so I like his style and composition is quite conceptual on, but sometimes it's good to look at work this very different to your own on. You'll find that it will influence stuff that you're making every day on again. There's just get good to get some diversity stuff Atran, which is quite cool, and it's nice to see what I love about be hands. A lot of the time is you see projects that directly related something you'll see kind of walking around just like there's a lot of night campaigns on here and stuff, and there's a lot of big re brands like for live Live. I mean, you're going to be that way. They recently rebranded, and they have, Yeah, they have their project up here as well. And also, I included pentagrams portfolio. This isn't This is a great way to feel a little bit more connected to some of the bigger agencies that are out there and see what they're producing because it could be difficult to feel like you ever really get an insight into what they actually make on day. So it's quite cool to see that they have a portfolio, the same as your I would have a portfolio on. Do you can really see the kind of stuff they worked on, that they did the ready player, one logo design again, which is really cool to see it in a completely different context. So, yeah, I would recommend checking these guys definitely. And I think sometimes also is good to see what the big brands are doing being agency because sometimes you think, Oh, actually, I can do this. You feel motivated because they are just as it's sometimes known as great. They just got big. They've got big team on the work they produce. It's no, it's not that you couldn't do it. It's just they've got a lot of tradition and a lot of name and funding behind exactly, yeah. 10. Day 7 - Asset Export (Ai) #280/365: - thing is something that I highly recommend again for everyone to check out. It is a separate panel that you can find an illustrator and all you have to do is to drag and drop things in it. And that way that whatever you place inside, there will be an asset. So, for example, here, Faison like the socks more, maybe the torch. I can just drag and drop it in and then it will call it a September. I can rename it torch if I select multiple objects like in this case, these are two separate objects by default. If I dragon dropped, I mean, they will be separate. But if I wanted to add them together just going toe under this last one, I need to hold down the old key old corruption. And that way it will be one asset handled as one, I said, and off course, we have here at the bottom the options t to export each of these so I can select all off them to be exported or just individual ones. And I can decide what size and what five format I want to save into. So this will be three times the current size PNG's, but I can add very quickly, two times. And maybe I can say one time is well so. Three different file size versions scales, but you can keep going on and you can have J pegs SV G's. Pdf's Like already from this, there's eight versions over a different assets in four different versions. Harmonies that it's already 32 different files I can export in one click Some reason, and it's great because it adds it into a file when you can choose where that false it's on your computer is also it's not just gonna scatter them across your desktop. Gonna be left feeling like No. And you can even decide what suffocates you want to use. So defies will automatically be name with these. So you know exactly which one is which. Yeah, Uh, yeah. I love this feature so highly recommended to check it out 11. Day 8 - Moodboards (Theory) #281/365: - I think as a creative we all create some sort mood board, whether that's a physical board itself or a pin board, or be hands, as you mentioned earlier on, I think is really important in any project you do. You should start in a combining inspiration from other artists or things you see and hard. And I was in the museum or when you're out and about just to get your creative juices flowing is important. Teoh. Gather them in one place for them, having them in your head and you just feel a bit lost. So this tutorial I want Teoh just saw off. Go through some things that you should try and including mood board from colors to formed images, textures, anything that you want to apply to a specific project. Onda. These are some examples I like and nothing. They work really well. You can see this quiet, feminine, soft pastoral mood has created. This is a physical mood board, so he doesn't always have to be digital. You can be. You can create an office space where you gather things that you like for inspiration. This'd another example of a digital one about fashion again an office. So essentially Emery board is an inspiration board. That you gather your ideas together, I think is well. You'll find a system that kind of works for you so you might have a space like an office space or wall space, where you feel like it would be a good idea for you to rip things out of magazines. And in the month and again you might. You might prefer a digital a digital way of collecting things. Eso maybe try them both out. Like I tried. I've tried both ways of doing, and personally, I find it easier to do it digitally. But that's not necessarily for everyone. So, like with most things with creativity, like, it's good to find your own way of doing it really exactly. I just wanted to very quickly show that when I was working at an agency in London, it was licensing design. So we have to come up with a lot of different styles for projects that we worked on, and this is like three different mood boards that I designed for this brand. So we have three different themes for the same project. One was about high performance machines the other one was future military attack. And then there was the premium sports, and you can see there's loads of stuff in here, so it's It's really a lot of different references, but still it highlights icons, detail, texture, inspiration in general, um, and already shows how it can be applied and the general feel off each of them. So even even though you can tell it's a similar style, it's still the three mood boards are slightly different. For sure, ANA, you can apply for just general events or weddings. It doesn't necessarily have to be worked, but you use a good way to gather your ideas in one place on another site. I just wanted to quit. The show is Adobe Spark. You know its parts or noise. Three. This one is actually free. There's the brand option is only for creative card users, but this really This is also another site free that you can use to create digital mood boards. So if you're not familiar with foot shop or you don't want to waste time, this is a good platform where you can just create a mood ball so you can just search type bold Yeah, on then. From here, you can choose the size you want, whether for YouTube thumbnail or poster, just a variation in sizes. And why would you choose? You can just choose existing quarters, which which is embedded in Adobe Spark, or you can upload your own one. So in this game I was to certain, like select few on. Then I could go to next, and it will automatically generate a grid style we bought for you. Don't on then you again. It's very use a friendly. You can change the size attacks on. You can also update a particular grid and change at the color you want. So if there's a lot of options, but this is a really fun way. Teoh create digital mood boards. It's really professionals, well, that you could easily create this and send it to a client act. Or Teoh that your head of design in your agency and it would it would have, like a really nice finish polish build to it. Yeah, which is home. As you said, you can share created link email to your colleagues or download it for yourself. Nice, yes. Oh, definitely. Try out spark if you haven't done it already because you can create these. They're called it. They called it posts, But you can also use park, as you can see here as a webpages. So it's the like lending pages you can very quickly create with fully responsive, very good parallax effects and all that. And you can also do videos so you can edit together a quick, simple video using even like free soundtracks they have on spark. That is really, really smart for for social media. I think it's it's ideal, definitely. I think nowadays, as a designer, you may be also responsible. So for social media designed so you might need to create pre interest poorest you trip thumbnails or instagram. But there are also marketers who are not necessarily designers, but happy to do this on. This is a good platform because these templates can be customized. You can join brand to it, but the style is really nice and clean and very professional. Definitely. Yes. Good point, Yeah, cool. So we can see that that'll be is also moving towards services. Wrap services like spark is there's no desktop application. There are mobile apps for it, but I would say probably easiest is to use it in the browser. Andi, Even like that one that we've already seen in this month, the color adobe color again is it? It's part of also the desktop applications. As a panel, you can find it, but it's again. It's faster and easier to use it in a browser. So that's that's like a trend in general, in in terms of applications, that there's more and more vab based applications browser based on cloud based applications . So you don't actually have to have anything installed on your computer, which is great. Yeah. So, um, I actually heard that the photo shop is coming to the tablets so it will be a fully functioning for the shop on I pants, probably next year. I think it doesn't 19. They will release it. But at the same time, I think we are just one step away from having a fully functioning for the shop illustrator in in Design in your browsers. I think that would be the next step would be interesting to see Yeah, instead of having to download it and keep it on your computer, where it takes up your memory space, keep updating. It will be always up to date because it is a browser. Yeah, I'm sure I'm excited to see that. 12. Day 9 - Cast Shadow (Ai) #282/365: - I use this little character to show how I would create the shadow or cars travel in Illustrator. Now, this is attack me That again you should be familiar with and practice doing, um, the mesh tool, an illustrator. So you can see by using a mesh, you can customize how this shadow is shaped so we can move each of these points independent individually around. And of course, each of these points can be customized as well. So if I just double click on it, we can see it better in isolation. Like that point there can have a specific color. So if I go into the swatches panel, we can customize that, then maybe setting to completely black immediately it interacts with its surroundings and then we can move these points around, and we can see how it's going to spread out more and more because that point has more space around it. Thea other thing that you can control is off course the capacity. So if I change, the opacity may be off that point up there to zero, and immediately we have a nice fade from visible to disappearing shadow in the background, and this is of course, not just for shadows but greedy int mess. She's are perfect for setting up things like this. Soft transitions, which you will need in in case of car shuttles. 13. Day 10 - Multiple Masters (Id) #283/365: - So as you can see here, I've currently got two masters set up in this document, and you can have multiple masters inborn in design document. Basically, what you want to kind of put on your master pages is the information that will run throughout your whole design. So page numbers, if it's the name of the magazine that the issue number I've got here on just little details , that kind of will make it very individual to that specific publication. But what's interesting about having multiple masters is sometimes you might need to completely get rid of that information. Or sometimes you might need to replace it with something else. By default. The information on your masters will be on every single page you create, which you can go through and removed manually. But it's very time consuming, and the longer your document gets the MAWR margin for error that bay, which is where you can create multiple masters and that comes in handy. So here I've created another month master page, with a slightly different set up one. So as you can see like, there's a special feature that I want to highlight here on. It's super easy Teoh, change them around. So if i g 02 here, you can see the page for I have my a master applied, which is this one head, which is the standard Master. So click here. Join a brilliant So say here. This was my special feature on I. I didn't want to use this particular master set up. I can simply just drag and drop on. It will update it. So I do both sides so I can do one side if I want or in the simple separately independently , you can have a and B. Exactly. Yep. So again, I could just If I change my mind, I could drag that back. So I've got be on one side and a on one side. And again if I created a see and a day with other information on my want something my fitter or even something in the in the center of the page. For whatever reason, it's a really quick and it was so reliable. Way to set up your documents. So you're not going You know what? Still, in each of these masters and you know what? What supplied here? So your margin of error is a lot narrower. I've made some really big mistakes going through and changing things individually and then printing it off and noticing a mistake which could been avoided using this on one thing I love as well. If there is a change you need to. For example, special feature has to be just named feature. It's so easy to just go into the Masa Pasion edit that Yeah, and it will update without having to go to, like individual pages because these things do happen. Of course. Yeah, One thing I wanted to mention quickly here is that the master elements. So, for example, these are not on your masturbation is that on the current page patient before they muster, elements will always be in the background by default. So in this case, if we have a look at your layers, we can see that you put your masters on a separately, which is the smart way of doing things. And I will normally call that one master the year because that way we can see all the master elements are on there. So even though by default, this object would come on top of the master page because you use the separate layer for it . It's going to be all these on top. Yeah, so, as just one thing worth also starting to use if you're using master pages uses separately for your master Germans and then later you can decide if you want them to be behind the normal elements. You can still do so just by simply updating the layers. Yeah, it's just good to have the option instead of having one layer. Yeah. Cool. All right. By the way, if you want to, very quickly instead of just dragon dropping applying masters to multiple pages, you right. Click anywhere here and choose. Apply master two pages where you can choose Rich master And to which pages you can even choose all pages or typing something like two to 22. Yeah, and then you will applied and rule out all of them nice. And you can also believe share must Yes. In the pages panel, you can load the master pages so you can say I think it's must appendages. Lord, Mr Pages. Um so as long as you have any design fire safety with monster pages in it, you can just reference that file and load any off the master pages from that into your car and document. Go because you might need to do something different. Issues of the magazine. Yes, it's applied the master page to that document. Nice. 14. Day 11 - Levels (Ps) #284/365: - this image to show the importance of working with levels adjustments, and we can see the difference before and after. So I'm just going to show the full difference by removing this mosque here. So an adjustment like levels can do a lot off things instead of just simply using it by dragging these points around. Because what, no, everyone is a very off is that you can switch between the channels so you can see each color channel will have a different history. Graham showing the amount off detail that in them from the darkest color to the brighter sculler. And you can see already by adjusting the color channels independently or individually instead of doing the RGB adjustments here. Not only you are brightening and making it more dark, but also you are actually color correcting the image so we can see by reducing this year, I am making the image more blue. By extending this, it will get more yellow so you can actually do both color correction and contrast increase here in the levels adjustment, so I don't want to go too much into detail, but I just wanted to make sure that everyone knows about this because I very often see people only messing around here, which, by the way, is great. It's still very useful to very quickly increase the contrast by dragging these two points in, or also generally Brighton or dark and the image with the center meet point. But remember, you can also use their separate color channels, and then that would be also color correction, not just contrasting trees on. But if I'm editing a document in Sam like a would I still be able to with the color channels just break down to see him like a saying Yes, very good question. So if we if we still want to keep all of our layers, actually just go back because we have an adjustment lier when I switched to see him like it will discourage the adjustment of the year. So we'll have to add a new one in. But once I add the levels, who will see that it has all of the four channels on? By the way, there's another thing that both for seem like a, and for RGB, it's applies if you wore them the older option key while you are dragging it, maybe not on CME like a I'm just going to Sion. Yeah, interesting. That's only works. Read RGB. So let's just go back again if I just go back. So if you're than the old key in RGB, you can see clipping as well when using the highlight and shadow adjustment Killed Tool. Yeah, so that way you can see what's going to be too bright, too. 15. Day 12 - Friendly Fox (Ai) #285/365: - Theo . The most interesting thing here that I wanted to talk about is to show the comparison between two versions off the same illustration with a subtle difference. So what I wanted to explain here is that you can see the difference Main here is that on the right side, I created a much more dynamic illustration by relying on almost like a circle. So it's like a very curvy design. It's actually, I think, a perfect circle here in the backgrounds of the body. And the tail forms a perfect, almost perfect circle, as you can see on, and I even paid attention to things like the head Eyes also has a circle in it, which forms almost like a continuous circle in that so playing on these simple geometric shapes, defining the whole pose, pose or posture off your character is very important because if you can see like this one is so static and boring and nothing is happening compared to the one on the right. It's immediately has more character, and it's more fun to look at. Yeah, and you feel more connected, like there's like a connection to character designers, and you are instantly more connected to it and more drawn to it because it looks kind of curious and keep is got those personal traits already. But as you say, like this one is, it's still calling. It's cute, but it is far more static, and there's a lot less persona to it. It's cool seeing themselves by side. I think that's one thing I'm still learning is when it comes to illustration is too have a purpose for it. You know, just a pretty animal. They has to have a cute has to communicate something. There has to be like this in this case, the comparisons all about body language. So, as you said, it goes with that cute and curious nature off the fox. But whatever you are growing, even if it's an object, you can add character to it, and we will be talking about this. I think next month we'll be talking about general illustration styles s so we can talk a little bit more about it. But yeah, it's a it's something you have to keep improving. It's not something you can learn straight of a keep practicing and pushing yourself towards looking at preferences, pushing yourself until you get better. Yeah, 16. Day 12 EXTRA: now in the commentary video, I explained that heading a bit of personality and movement, um, to your characters and illustrations is very important. So this was a demonstration showing that even just moving, maybe one off the years like here. As you can see, this would be an almost completely symmetrical version simply by moving the ear a little bit like that already at the bit off quirkiness and character. But having something a bit more dynamic, like this one here, with more curves and nice flow to the whole design makes the character more appealing and interesting to look at. So, um, there is something that I use predominantly here, and that's ah circles. So I worked a lot with circles in this case, but I'm going to work you through exactly how I done this. I'm going to just extend the art board, are bored a bit that will work here on the right side so you can keep an eye steel on the final result. But I will show you how I done this. So normally I like to start with head, and that's why I'm going to do now as well. So I use the lips tool l is the short cut and then click and drag holding down shift. I can create a perfect circle going to use the eyedropper and quickly just sample that color. Um, Now, once you have a simple shaped like this, their several ways that you can move forward. One of the quick techniques that you can do in this case is to select the bottom anchor point and using the panto you old click on that, you see immediately, we start to have a little face there. Okay, If I all click on these points as well, then we can't even closer to what we have here on the head. The only problem now is that we need to drag these handles out a bit because the top area got a little bit too flat. So old click and dragging the handles out creates a shape like this. I use the direct selection tool. I can push this point up, and we pretty much already have the shape that we needed for the head. So it's simply starting from the lips. But then adjusting the anchor points around can create a more unique shape like this. Okay, um next stamp. I would create these shapes here. But what we will also need to do is to turn this into a clipping mosque. So I am going to draw another circle, which I will play somewhere roughly around there. I sample this color here, and then I'm going to use the reflecting pool. Click on the center, point off that other shape and then alter option shift, click and drag this shape to create a duplicate. So there's reflected version off the previous one, and by the way, there was a little tool tip coming up. Um, seen CC 2019. Now we have this feature called Global of It, which is brilliant because if you have a symmetrical design, you will have to off everything. So two off these shapes as well. Ah, and I'll show you why That's important. First of all, what I will do is to select this original shape that we had ah, right. Click on it and choose, arrange, bring to front, sacked all three off them and impress common seven. Now that creates the clipping group like before in the previous example. But whenever you use a shape as the clipping mosque in this case that had silhouette became the clipping mosque that by default loses its feel color. But that doesn't mean that you can doesn't mean you cannot add the color later on. So you have to do is this. We select that shape and reapply the color. So now it's deal of works as a clipping mosque, but now it's also has a field color. So that's exactly what we needed. But let me show you now what happens if I said like this shape here, that circle I can choose? Um, actually, I'm sure you this wouldn't get another shape. Um, I'm just going to keep this year, and I will quickly draw the eyes in as well. Okay, simple that detail again. I'm using the reflecting pool ought shift, click and drag onto the other side. And then I'm going to draw the nose just very quickly, something like that, and simply by dragging this into the clipping group immediately within the layers panel immediately Adsit reading that shape. So just once again, showing this to you. So that shape I just created that. But I already looked at the outline where it needs to go So as soon as I drag it into the clipping group it it closes it into that shape. So the outline that we created Okay, so we're pretty much done. I'm using the direct selection tool to select this ellipse and shift up and down arrows. I can align it exactly where I want it. Maybe it can go a little bit higher. Yeah, something like that. Okay, so let's draw these details here. Ah, this I start off by using an ellipse again. Select that color and then old click and drag to create a duplicate. Okay, then select these two. And I use the shape builder tool to delete the's parts holding down the altar option key. So Shea Builder, alter option. Click and drag deleted those details. Now, this is a little bit too much detail, so I'm going to use the eraser. It'll shift is the shortcut for that. And then alter option, click and drag to the elite. Okay, so this way we got the shape that we needed or we have to do is to just rotate it and align it also in size, something like so And then I can duplicate drag up a bit, maybe rotate a bit resize a bit, and then we have slightly different results of what we have on the left. But you get the idea how it works. I'm going to duplicate these again with the reflecting pool. Click on the center point first, click and drag. Hold on north and shift duplicates them onto the right side. But let me show you now the global idiot feature. So if I seem like one of these shapes here on the right side notice that we have in the properties panel a feature called Start Global at it. If I click on that, it will automatically highlight all the shapes that are the same as the one that I currently selected. And the cool thing is that if I select any of these details, maybe select this shape here and I start moving it around that anchor point, you see how immediately it is updating on all off the shapes. Okay. So even though this is not a symbol, I can steal work with all of the shapes all at once, so I could add a little bit off band on them and you see how it updated even on the reflected details. Now, if you click away and you don't see those rectangles anymore, that means you are out off the global at it. So it's not doing the global global edit anymore. But you can always easily go back and just click on Start Global at it again. So as soon as you see those rectangles showing up means you are editing all of the shapes at once. All right, so moving on, let's create Ah, the years going to start with circle again. Ah, sample that color using the pen tool, old click on that point. Then drag it up. All right, copy paste dragged down. Simple. That color move down a bit. Group this together reducing size something like but And then we can put it behind the head off the folks somewhere around there. Okay, that looks going good. Select this duplicate and reflect. Okay. Can add a little bit off quirkiness to it by setting a bit of rotation here. Okay, so it's not completely symmetrical. And then if we feel like making any adjustments off course, we can do that. Even things like selecting these two circles if you want to move them down a bit further up . We can still do that, of course, is going to set it somewhere around there. Okay, so now we can't do the body for the body. I would again start with a circle and then another circle, old click and drag. Do somewhere around here. Select this too. Shape builder. Delete old click and delete the deep the details that we don't need. So this is going to be both the body and the tail. Send it all the way in the back, right? Click, arrange centre back or using the shortcut that you can see that Come on, shift square bracket. And then I have use something similar to this as the foundation. I will also select the head grouping together command J and add that cute ah had field that we have in the other design. Okay, that's getting closer now and then. All we have to do is to add the little, uh, feet, which I actually started. I think I've used, um, ellipse, then used the direct selection tool and rounding off the corners apart from one off the corners like that, I think work. Let's see, I said like this can make it even more rounded. Yeah, that will work. These are the corner vigils, by the way, that I'm using Going to use a lips for the feet detail. I'm going to just drag the handles down of it. Game that works. Um, maybe this point here can come down with okay. And maybe the whole thing can be squashed time. Look bit and group this together, drag it over here, and then we can just duplicate it and rotated to the other side. Okay, that's looking good. Something like that. We can also move these down if we wanted to. You can always decide what works for you. Um, I added the rectangle just to indicate that there is something there. Um, we can use a mosque for that, but you can just simply use a rectangle. Um, I'm going to use white. Just it feels like the foxes sitting on something, and then the tail is down below there. Now, if you want the tail to have these darker shade at the bottom, I would suggest to use again a clipping mosque so I can add a darker rectangle at the bottom there, and maybe another rectangle here, which will be even darker. Okay, select that ship that we originally had or select these two rectangles. Send them all the way to the back shift. Click on the shape and then command seven or control seven will turn it into a clipping mosque. Don't forget that when you do this, you just have to select your clipping mosque. And you have to make sure it has a color assigned to it. So that all right, now it looks much better. Okay, so we can always adjust that little Why detail there. Um but essentially, we are almost there now. Ah, well, just need to refine a little bit the details. So maybe legs can go a bit further up. We can also make them maybe a little bit smaller, something like that. Then we can select thes details. This is supposed to be the shading. And then the tail is darker because it's under that, um, thing that the folks is sitting on and then to have these details added, we can even use thes original shapes here. I can just select one off them, copy, paste, sambal, discolor here, and then flip it around in the direction we need, and then we can just simply paste it in or click and drag and applied a few times until we're happy with the result. I want to have a nice floor here as well on the tail. Um, like this stands out a bit too much for me. So I would refine this by dragging this out on rotate, and I would move thes points down of it as well. And that point further out, that's much, but already, e. I mean, you can see that this could work with a little bit, even more refinement. But eventually I would get to the point that I have on the left side and the effect that I liked. Yeah, I don't like that. I'm just going to delete it It sometimes it's just easier to use the pen tal and draw in the shape that you want. That way I can create a more like 10 geant curve there that works a bit more in line with what we need. Okay, so that's pretty much eaten off course. We can still move things around. We can make that had a bit smaller Wickham or with closer to the body of whatever feels natural. Wherever feels right. You can, ah, adjust and work around every detail. So for at this point, you can move the legs apart a bit more that one can come, come in a little bit more as well. Um, and so on and so forth. So everything is completely edit herbal and the easy to adjust. 17. Day 13 - Tracing Layer (Ai) #286/365: - whenever I start with a hand growing, maybe something I've done on paper or even in procreate, and I want to turn it in the vector artwork. I would import the illustration or the image into illustrator and set it up as a tracing layer. So when you double click on the layer on which you have, your image we have to do is to click on template, and that automatically deems the image as well. We can turn off the dimming. You can see that's the full version. Once it's set to them, it will already deem it a bit and locate at the same time. So I don't accidentally move it around and then on top of it, set up a separate lier for your illustration on which you can start working. And then another useful thing to mention is there's a short cut. If you press command or control of I, you can turn into outlined view, but which basically you get like an X ray. View off all your factor objects so you only see the outline. But in this view you still see the full image on your tracing layer, So this is brilliant. If you need to draw anything that's already covered up by objects on your illustration of the year. So, for example, if I wanted to draw the eye Mac in this case or that screen, you can see that I'm not sure where it ends. But as soon as I press command, why I can now easily draw in this mood, cover it up very quickly. I'm just going to do that one. Shape that and then come on, my switch back and we can customize the colors to whatever we want. But yeah, that's that's normally how I would work tracing simple set up two layers and that short gap . That's pretty much it. No, you have to know. That's really cool. Yes, on the main thing is, probably if you are trying to improve your join, Trey. So a sketch for us rather than just jumping very good point. I would never start in illustrator doing like a complex illustration if it's something simple and I know how to do like the folks, for example, I started in in Illustrator. But even that probably would have been easier if I've done a sketch first, because I that's that's the 1st 1 I've done. And I was like, It's no good. I could have saved time. Maybe there are a couple of clicks, quick sketches. And probably I would have got to this one before I start doing the illustration. Yeah, You don't even have to. It doesn't have to be a good sketch. It doesn't really. You don't have to be an amazing artists drawing really good. Just a basic structure. You help? Yeah. 18. Day 14 - Design Areas Part 1 (Theory) #287/365: - As we all know, graphic design is so broad, and within your graphic design career, you can specialize or combine all sectors in one. So in this video we talked about editorial, we talked about poster posters on also retouching images. So photography is so important in every aspect of design on whether that's using aerial photography or manipulating nothing in your design career, you probably will have to do some sort of touching. And they you never use a role image given to you will do some sort. Tweak on. These are just amazing examples of how amazing for the shop how much you can do for the shop on. Uh, yeah, I just I wanted you just share some of these examples. Yeah, it's cool seeing that, like photo retouching could be so broad. Like you could end up in a photo retouching where you are trying to make something more realistic. Or you could end up in photo retouching where you're using it for creative license and you're literally doing it as a piece of design in its own, right? Exactly. Yeah, like some someone who was not into the creative industry when they see ever have any. He retouching the my just ankle fashion and beauty. But it's just it's a fraction off the actual industry, every touching industry, big campaign. Big agencies will probably look for someone who has amazing for the shop techniques because some things are so amazing. For example, this Hinds on it is going. It's just for two retouching the manipulation. And it's a combination off, obviously really good photography product photography and then the post production, which is the creative retouching. I would call these examples already creative retouching, but even more so these ones where it is more like producing a new artwork based on photographs. But taking it much further than that. I really admire thes type. I'm not a big fan off the fashion industry, and I think a lot of people are no, you know, we don't want to make a body shape fake. You know, you wanna sure keep as that trust possible, so I do support that. But when it comes to these campaigns, I think that the artist itself amazing the the ideas and the creative team comes through from the image is amazing. It's very inspiring to see, like especially in ads on billboards and stuff. You just kind of going about your day to day life. And I think everyone's probably experienced that moment where you kind of like stop to get an advert. Yeah, unlike photo retouching, is like such a good way to do that. Yeah, and if you want to learn about four to retouching Martin also did a seminar was It's on YouTube. I got the links share with you. But if you want to learn more about the topics in general and design areas, maybe sign up to our survival kit because we do cover each of these topics and share resources. Tutorials advise on each different areas. Cronuts on that on the Emily's favor is editorial on the editorial. Also, huge, as we all know on it varies from a magazine to Yeah, yeah, there's online publications gone really like a story straight straight in there? No, but like, you know, their zines, foldout posters, books. And then there's this whole, like digital publishing now, which is huge versus kind of the more craft of of Actually, like printing and developing a magazine and producing a magazine. And, you know, again, it's it's such a massive industry. And then you can make so much of a statement with editorial or it's very practical, very functional. And it's just like newspapers. It's just there to communicate information every day. They have the same layout every day on be on this video with covered poster design again. Also broad. I think we Mean insure examples off advertising, music festivals and movie posters on We have videos on their own YouTube as well. Long tutorial on how to create effective movie posters on. We also have a composition video, so if you want to learn about editorial checked out. But all these are really important, and as a designer you will probably combine all three areas. I'm so much more we know we'll cover later. One. I think this is a very important topic, and the reason why we decided to include also in the 3 65 days of creativity Siri's is because it's good to be a pair of all the different areas. For most importantly, you can see the little I consider on the bottom right. We wanted to show that the three main design applications will be present and the most important tools for all of these areas. So the more you learn about these tools, the more versatile you will be as a creative professional and the more different areas you can specialize in. We don't recommend to specialize in multiple areas because you will be just to like, fractured up and not really have, like a clear focus. It is even just staying on trend and like finding inspiration for one area is a lot, let alone trying to, like, be good at everything. So if, for example, if retouching is appealing to you, then as you can see here in these examples, we highlighted, obviously for the shop is very important to have a skill very high, Skilling for the Shop on Illustrator can be useful, and using a pen tablet for that is again crucial because you have to be very like fast refining and very particular and refining details. But I would say for retouching, especially these creative retouching, three D applications are also useful, like rendering certain details like that. The guy what he's wearing, it looks to me like three d. Maybe it was done in 40 show, but it's more like a three D view and they're so, um yet for retouching three d can be also useful, But apart from that, the three adult be applications will always be key to whatever area you go into official On this issue of the design about bundle we on the magazine, we also list the areas on also the pros and cons off being multi disciplinary or be an expert in certain areas because they are you know, like you said, everyone is good to know, be of everything. But then again is also to specialize on something specific that you're going for the show. Yeah. I mean, you can't be good that multiple things, but you can only be great. I think at one area, if you want to be really, like known for something, you should focus. And you should really, like, make time like if you want a good, bigger that illustration, you have to draw and you have to do it. They to really get good at it. It's time consuming. That same goes for retouching. An editorial, the science where you can't just master it by doing it at all. You have to you have to do the oh, on Daz. We mention everyone. A lot of these will overlap. So if you are into if you are an amazing illustrator, you can use that for advertising, your reporting and editorial. So they're all are linked these different graphic areas in some way. Yeah, yeah, for sure. And like, you'll probably find that an understanding of another area will be helpful if you collaborate with other people. So you know, the illustrator and someone else is the editorial designer is good for you to have an idea of what merger brought it was trouble handy. So many amazing illustrators, which will talk about later on the month But next month. So many amazing industry says Don't do so well because that they're not digitally Swabey. They understand how to create layouts. Digitalize them. It's evident that traditional artist 19. Day 15 - Geometric Art (Ai) #288/365: - one of my favorite facts that I love to work with his dick transform a fact that I used in a creative way. So if you look at my layers panel, you can see that there's actually two objects. Two circles is all that it takes to create this design, and I can split them apart so you can see them better. Basically, all I've done is to draw a circle and then set up the transform effect in a way that it is producing multiple copies. But while it's creating the copies, it's also moving in a direction. So instead of having a central reference point, I can set left or right or bottom or talk or even diagonal reference points, and you can specify the amount of copies. Of course, we can increase it and off course. You can also increase the size or decrease the size. If you want to do like, you can create so many interesting shapes with this, like I can have more distortion, and individually you can control the horizontal and vertical scales. But if you want it, you can also do movement so you can even have movement. And it almost feels like a three d design that I'm moving around here. So transform effect is massive as so much things you can do that it you can even randomize stuff in it. And the more changes you do, the more you will see the the randomized affecting it. But the the the simple thing that I've done here it's more like a visual trick, really is that these two designs together almost feels again, like three D, as if we are looking into, like, a ring almost like the James Bond, the old James born in trying a little bit similar to that, Um but yes. Oh, that's pretty much it transform effect. And we will have another transform effect coming up where I will show you how to take it further when you use double transformer facts. So you combine to transform effects on the same object so it can even get more at once than this, but for now, practices and see what you can come up with this feature 20. Day 16 - Sunrays (Ps) #289/365: - a cool little effect to create sun rays or God raise. They also sometimes called them. There's also a technical term, I think cat crepuscular rays or something like that. Let me just have a quick look on Google. So if we do God raise, you will see they use this in game design crap vascular race. That's that's the actual technical term for it. You can call them splintered light or God raise in. Atmospheric optics are raised off some line that appear to radiate from the point in the sky where the sun is located. That's really important. Then we can see some nice examples here. Um, if we just go to images, we can see that you can see this in general in the sky, but you can also see them in forests. Now, when you see them in forests again, they can be very different, depending how the summits over the sun is and how you take a picture. But it's very common to have them coming in one direction off. Coming from the Sons of the Sun is anything the light, so you would have parallel lines or these, like radio lines in the forest again depending where you take the picture and how the light is coming. Uh uh, relative to where you're standing. But the cool little technique that I've done here is simply stretching details of eating the image. So all you have to do is the select your image used the selection Toe court, single rule or single column In this case market selection toe click somewhere in the image where you see that there is a good set off covers and then I am just going to use thes simple market selection toe holding that old and shift together. I will restrict this selection to this area here on the top. It's called into section selection and then command J or controlled J to duplicate that. So if we then use the free transform tool now we can stretch those pixels out control or command key to set the direction for it. You can even do a perspective interest if you wanted to, instead of keeping them completely parallel. And then, most importantly, after this, you want to send this to screen so it blends into the image on Ben. You can also reduce the A pass iti if you want, but normally I would keep it on full opacity, and all you have to do is to set it up in the area where you want to like to come. And they use the mosque and the mosque and a soft brush to brush out the edges. On that way, it nicely blends in. 21. Day 17 - Twitter Logo (Ai) #290/365: - dump off, creating a logo or brand identity using purely circles. And the example I picked is the Twitter logo, but I could have picked for the phone. There's a couple of other ones as well that is made purely off circles. Even the apple logo is made purely of circles. But yeah, you can see that once you use these basic shapes and combine them, it gives a very fluid and natural and balanced final result because each curve at elements like even these thes curves here, which wouldn't have to be at part of a sectional, that perfect circle. But by having that it makes it look very connected and balanced, as I said before. So the technique itself is simply, once you have these circles in place is to use the shape builder tool. So if I select all of these here, make sure you select them all, then you can just use the old key or option key to delete the things that you don't need. You can even use if I go back one step, you can even those do old and shift together to delete V the selection, and then we can maybe has also believe these ones here. I don't want to delete the the Vinck, but you can see how it works. And then the things that you want to join together you can either just draw over them or again use the shift key to combine on a selection like that. And again here. I can just draw and goal. Continue moving like that. So I don't want to do the whole thing here, but you can see that very quickly. You can get to the final result once you have the shapes in place. Nice. Yes, really is good. Like to make sure that the proportions of right as well with this a section of the same shape. You know, Unfortunately, your design is gonna look consistent. And it's like we were saying earlier about using shapes to Kuyt, correct, to create, like, fluid movement on, like to make sure something feels like consistent on professional and like natural. Especially this, because it's like it's a bird. Eso you want that like smooth curve it curved shape. If you were perhaps making something that was more like a monitor, for example, like you wouldn't really look to you circles, it is definitely like contextual toe. What you're creating is our 22. Day 18 - Design Trends 2019 Part 1 (Theory) #291/365: - We want Teoh to show some design trends that we expect, and this is the eighties and nineties style, which we've seen a lot. But I think it will still continue to rise on. Do you know, expect to Seymour eighties nineties by artwork? Whether is pattern for homes or using their full in a poster design, a lot, lot bright colors and Memphis geometric shapes as well? This was one of the styles which we I love experimenting with, and I think you will see more that on this is quiet, interesting one that we've already seen quite a lot. I think we will seem. Or in the future, brands such as, I think Dropbox, already using their Google where they have bigger limbs, were on small head for the illustrations again. Really cool style, which really love on uh, you saw again minute, minute minimalist illustration, but with vivid bright colors with facial features. And as I mentioned before, illustrated Girl. She is really good at the soft style Onda expect to see more curve so it's a straight eh? Geez, soft, more round, curvy shape. Yeah, I think you can kind of see that throughout throughout illustration as a style in general, like starting to really like Take hold now is like if in most of these examples is very few like really straight hard edge lines, even some of the straight line still have, like softer curves around around some of the details. So, like that's just like a general thing to pay attention to me on. I think we want to see more gifts in in the future, and there are so many Softwares that you lets you easily create in the animation. Onda and I motioned is ocean design as well. Eso, a motion design in general, is something that it's continue to continue to rise, and even logos and brands now have motion. So I think we've designed with design trends in general you have Teoh be the right time, so you need to know when to use them. Being too early on a trend is not good or being late. You just have to be there at the right time and and of the best way to stay inspired. An up to date is to follow sites like dribble and be hand and see why the artist I doing on that? I feel into a product will fashion. I think it's wc jen on Google trends. You can use these platforms to find out if things are trending and again with trans similar to like. A lot of other things is only used them if they're like relevant to you as well, like design trends. Air. Amazing. But don't try. Enforce your style into that trend. It's something to use that here it's the illustrators used alongside the star they have already created. Don't force something that shouldn't be animated to be animated just for the sake of it, I mean similar with like no goes like we've got a really cool animation that you created for the yes logo And it looks great because it works with the existing elements You didn't redesign it used the existing elements to create a cool animation. Yeah, so just one thing about like in general motion design, if you are already good at illustration something like this is fairly quick and easy to do in after effects. So if you want to get into motion designed as the next application, you would have to learn. We have so many social media APs and platforms like Instagram, where these things are quite popular. Yeah, it's a good way to market and promote your work, Sure. 23. Day 19 - Image Brush (Ai) #292/365: - we have another technical example off creating an image brush in Illustrator. Now this starts usually in for the shop. So what I would normally do is to export two sections, all three sections, depending how you do it from photos show. And what I normally do is I use slices so you can see here I use the slice tool and I created a slice in the middle which automatically separates the left center and right and export these three a separate PNG's. Once you have these PNG's you can going to illustrator and you can create your brush which will be looking like this. But first of all, you bring in your images. So the three separate elements all lined up here and then you go to your brushes panel and within the brushes panel, you want to select one off the elements. Normally, I would start with the center bit click on you, or you can drag and drop it as well, whichever you prefer. And then what you want to use here is the art brush. Uh, yes, I think our brushes the one that I used and then i fact week. Okay, I stopped the one No pattern bar. Sorry, I sometimes use images for our brushes as well. I'm just going to remove that. So it's a pattern brush that we need to do. Whenever you have images, you are limited to do only these three. You can't do kala graphic and basic research brushes because they have to be based on vector objects, while the images that you're important to illustrator can be turned into these three categories, out of which, for this example, I used the pattern brush option. So once I have this set up, we can see that the central bits are already there. If I were to draw with this, so I'm just going to use the pencil tool and so like that we see already that is starting to work, and I can redraw this by just drawing a little bit further. But he doesn't have an end in the beginning now to at the end than the beginning. What we need to do is to select these items and start dragging over them here, holding down the old and option key or older option key. You can put the beginning or starting point in this block. Click OK and apply to stroke. It will immediately show up there as well. And the end point you again, old or option. Click and drag into that little section there. Take okay, applied to strokes. On you go. We have a car. And because I made sure that the central bit will repeat well, obvious, it was one image. So it's it's nicely connecting to the other bits. It means that if I redraw this, anything that we do with it and any long we want to do the illustration, it was deal work, even applying it onto things like a circle. You can see it's steel works, so you're like top tip would be ready to consider the image you're using to make the pattern brush like something that doesn't have a very repetitive element might not turn out as well as you were hoping. Yeah, like the central area, the central part has to be something that works well repeated on, Of course, it connects nicely to the beginning and the end points. That's why it's important to start on foot to shop with a photograph that you can nicely chop into sections with the sliced. Oh, nice, cool 24. Day 20 - CMYK vs RGB (Theory) #293/365: - this Chitauro was about RTB versus seem like a, which is the two most common color space is. We use these designers, Andi, both of them you definitely need to be aware of when creating any kind of design work. It'll eso the tutorial kind of goes into exactly war RGB and someone kr so hard You b stands for red, blue green, and it's the color breakdown. There are screens use, and it's actually based on the light sensors that are written or of our monitors and more screens and our phones and stuff. And they kind of their the color from the light is kind of mixed together to create the colors that you see on screen, and it's an additive color mode. That means that the bright sculler is the white. Yes, it works with might like light. Exactly. Then that compared Teoh See in my K, which is Cyan, magenta, yellow and K stands for key color, which means black, which is like the main play that's used when printing. So this this system works basically where you have those inks set into a printer and they mix together on and it's a deductible processes and more so tractors and attractive. You subtract light in this case because you're coloring it way. Start with white paper on. Then you are going towards black. So the most intensive color in this color mornings black. So it's exactly the opposite as RGB. And that is why, Because it's so different, physically different, the two color malts. It is sometimes an issue matching colors in RGB to see him like. And I guess that's what you wanted to talk about here as well. Exactly, yes, so that yeah, the tutorial explains kind of what we've just explained. But visually, the point I kind of really wanted to make hair was why it so crucial to understand the difference? Because, as you can see, everything you designed being on a screen. But if you're printing it, you need to consider how that's gonna look in print, and they're gonna look very, very different. The colors are gonna be a lot duller, less saturated. It will appear less saturated. And if you're working on something like a brand project, where you want consistency on and off screen is something you really need to start. Consider when choosing your colors and your color breakdown. Also, it can cost you a lot of money. If you design something in Argie being, you send it to print and it comes back and the colors look completely wrong. These ones are kind of they damages would be fairly bad, but I've seen other examples where they just look completely different. The colors are so different, Andi. It would just have to go in the bin, and you have to start again. And unfortunately, because it's your job to check that as a designer, not the prettiest, you are unfortunately responsible. But yeah, I think also, when it comes Teoh, see it print in. It's always, if you're not sure, just get test runs. It's so easy to get on with print out home just to see how war looks and also for the screen as well. You even talk about the color. Yes, so when you're working with with anything that you know that will be going for print most of the times you want always the your screen to be calibrated. That's one of the things that you need to make sure you is fairly inexpensive tools or devices that you can buy to make sure that your screens calibrated. You have to keep doing it if you want to make sure it's consistent in colors. Off course, the quality of your screen is also important. So don't buy cheap monitors. Try to invest into something a bit more professional that has, um or like accurate color representation by the phone calibrated. And then, for example, if you are working in photo shop, there is the proof color option with which, even if you're working in RGB, you can very quickly see how it would look in a certain color. More like now I'm proofing in a color blind color more, which is just a simulation off that. But if I switch to uh, see him like a then already we will see the difference. And here the shortcut is commando, controlled by the same as the outline view in Illustrator with which I can switch between the two, and we can already see that the RGB looks very intense and vibrant and saturated. I see him like he will lose that intensity because it's just impossible to get those very bright colors again. Think off RGB being light. That's why it is easy to get these vibrant colors because it gets brighter and brighter, the more intense the calories while in print, it will fade because it wills on white and trying to cover Fight s Oh yeah, Andi, you can change each of the color modes in the applications in photo shopping Illustrator. It's really easy to do. You just switch between them like you can see on screen here. And what's really interesting is that I recently found out, is that in design can run both at once, so inborn document. You could potentially have an image, a couple of images that use a different color space. So it's just good to just double check that before you do send it separately and especially within design, I said, because you can have both. And sometimes you have Mitchell boyfriends just so unprofessional. I mean, it's not an issue to have both color profiles as long as you pay attention to the final export is in. Designers, you said doesn't have a color more so you can't even find the option. It handles any type of colors at the same time, but you can check your links panel and see the color space there. What color space and what color profile is used for them. But at the very end, when you are exporting, they will all be added, or they will be converted to whatever that Al put is. If it's an interactive PdF most likely will be Archie being If it's a print. PdF it will be seeing like a another thing I wanted to just beat for you to clarify between the registration on black, because I think I would print you use black, right? Well, I always get confused, and I'm not always sure. Yes, so you shouldn't use the registration color for anything that you want to show up in the print. This is actually only used for, like crop marks, because what happens with registration color If I double can't even double click to see it with this color has 100% Inc intensity on all four colors. So black science, magenta yellow, all at 100%. That is definitely not something you want to see in in like a background or something, because it would come. The paper would completely get that with paint, and it ruins the print. But for small little marks. It's important because them the four plates can be aligned to each other. That's why it's called registration color. So for alignment, those little marks that is used around the print would be used with this cover on black is the one that you would use, which is just black at 100%. Now some designers would change this one or create a special black, which we normally call rich black, which will be 100% black. But then it will be 25% off each off the other colors, which in fully the full value amount. It's still not more than 200% which is not too much pain in one or ink in one as spot spot or dot. But but this is a much stronger black than just 100% black. That's what we call rich black. So this way we have three different blacks. We have the registration black. We have the rich black and the normal black, So I would use this one for maybe, like titles and the anything where I would really like a strong statement with black this'll. One can be used for normal body copy. I normally use it for that and lines and stuff like that. And registration is full crop marks and registration marks on its hand. Because you can see if you hover over the registration, it comes up saying it's OK, so that's a good way to tell. And then another one is. Which is the Pantone? That's a special ink itself, right? Yeah. Yeah, that's like working special last a specialist I think the A company would buy to print. And so that's why you get your Pantone swatches and your color Berg's own like which I would love to have a set of Pantone swatches, but they are expenses I have won t see how it looks, but again is great for again, like branding if you want to have a very specific Pantone color reference. If you as a company could afford toe actually by your own ink, you can take that to a printer, and they they will use that ANC on your paper to print your specific Pantone color on again like a great thing about using Pantone is that they tend to give you a lot of advice based on what you should use on and off screen, so they will be able to suggest a swatch that is going to look the same imprint on the same ones green. So it's great for consistency and very accurate color, but it's a lot more expensive. Eso its accuracy is key, but also the these colors, because they are not, makes you normally from seeing my Kate. They are premixed colors. They can be much more vibrant than CM biking, so they can be actually closer to RGB than the mixed You know, the typical seem like a, which is why they're a lot more expensive to print. Yeah, so we can order the see. There's some really vibrant colors in here that you wouldn't find in normalcy and Mikey Axis. 25. Day 21- Contour Lines (ProCreate) #294/365: - we can see that I started with a sketch, which is the outline. But then once I would start drawing over that it will look like this, that we just played their time lapse here. So we see, first of all, the illustration itself. So I was playing around with the character and then at this point, I refined my lines and I started drawing over it. Now, when I just drove over but still keep the contour lines, it still looks very illustrative. So I'm assuming with closer. But then you will notice at this point around here, at this point, I will have them side by side. And this is still the contour lines. We can see it, but already term into the black to blue. So it starts to blend in with the design. And then as I go further hat on, just blending the lines more and more in and to a point that at the end you won't even see those contour lines anymore. So there was that on the left that I started off. They're completely gone because they're blended into the design. So this is an important decision. Us. An illustrator have to make whether you want the contour lines to be visible in your illustration or you want them completely planned it in. When you are doing it like this, it gets more realistic and more three dimensional things. While this would obviously be a bit more cartoony and more illustrative, So let's less realistic. Yeah, it's a it's an artistic decision that you have to make depending. What is the purpose off your drawing and illustration. 26. Day 22 - Grainy Shading (Ai) #295/365: - thing is against something that I've seen a lot in illustration, and I wanted to show how I would do this in illustrator using a technique that can be vector based. Although this technique is something that we already covered in photo shop creating brush, we called it the noise brush, so that was already covered. And it's fairly easy to do here. It's a little bit more tricky to do, but still not that complicated again. The key is the mash tool, but also importantly, you have to use an effect the green effect so you can see that I have a mash here. But I'm just going to show you very quickly on a separate object, maybe a circle if we are picking the same design. Actually, I'm just going to start with a field color, just a simple feel color, maybe similar color to that. And then when you go to the Grady and panel, so from the Grady Int panel, we can find the options here. Maybe I don't like that one. You can find an option to set it up, and sorry, now that she's not from the great empanada made a mistake. Here is the measurable. So when I use the Mashtal, this one here, if I just click on it, it would add match points. But what you can do is to go to the object menu, and then, from there you can find the mesh option, create radium match you go. And this panel is the key where you can decide whether you want to have a flat starting point or an edge or a center based mash. And the main difference here. If I move this over this other object here maybe just sat the capacity to normal will see batter. So once again create Grady and MASH, we will see the difference between the two. So the Grady in machine set the center will keep the center of white, while the edge will be kept white in the other raid. And then, of course, you can increase the rules and columns as much as you want. But this is a really good starting point, the one that it's set to center because that's already going to have the darker details around the edges. And if this is sad, the whole thing at the and the set to multiply on top of something else. It will already have that type of shading effect around it. So that's exactly how I started with this measure as well. So having the center blank and all the details around the edge and then off course, you can use the direct selection tool and move these points around individually. So at this point here, I can move around and then a fact, how these shading is going to change. Additionally, of course, this is completely separate from the actual object itself, but additionally adding The green effect is the one that's going to create the final look. And, of course, the green effect. You can change and intensify it or reduce the intensity and so on and so forth on this affecting fine from here in the photo shop effects. So this is actually from the effects gallery. You will be able to choose cream 27. Day 22 EXTRA: What I'm going to do here is to show you how I created this shading. So I'm going to delete the shading, and all you have to do is to duplicate the object. So the technique that I use for this noisy texture shading is a way that you use the Grady and mash, but together read a filter or effect. So first, what I normally do is to duplicate the object itself. So this is the object that we have command. See, common F is a quickly off duplicating it on just showing it to you. This is a separate object. I am going to keep it separate here. But then I'm going to realign it with the other one just so we can see better. What's going on? So I'm going to First of all, set the, um greedy and mash on this. Of course, you can already change the color, but that's can easily be changed later on as well. So it doesn't really matter when you do it. I am going to go to the object menu and then choose, create Grady and mash. Turn on the preview so I can see where the anchor points will be added and the appearance needs to be set to center. That's important. So you want the color detail to be around the edges and in the center. You don't want any details. So you wanted to be transparent once I click. OK, you see exactly how this looks, but this is not actually transparency. This is just simply white in the middle. But that's good, because if we change the opacity to multiply, then immediately we get a result that we wanted to have. So now you can see if I place it back where it waas, it should snap back in place even without even without the effect. It already looks quite good because we have the shading around the edges. So that's a very quick V off adding steps to your objects. And let me show you this with this other shape here, so will I. Do command C command f go to object, created Grady and MASH. It should remember your settings and then you just set this to multiply. And this is something that some in some cases, is not enough. Like here. The color used was not enough to make this darker, so What I would normally do is to click on the re color artwork and then simply reduced the brightness there. So you see immediately starts to look like it has shading on it. But you can also have more saturation. It's not enough to manipulate the brightness. Normally, I like to increase saturation for darker colors. And also sometimes I like to play around with the hue. So maybe a little bit more yellow would look. But better or even purple looks quite nice in this case. So I'm going to go with that and the click. OK, now the important thing is, before I would apply the texture, the noise. Ah, great noise texture. I would refine these anchor points and mushy mesh lines. So what I normally do is to drag these anchor points around. Okay, so they don't overlap each other and then hear this corner that we have. We can actually remove. So if I used the pentacle, I can old click on this. No, not like that. Let's try this again. Okay, so these corner points, I think if we just press delete, that removes the whole line. But that's fine. I can remove the whole line, and then I can click again to add another one back. To be honest, I think we will have to work with these in this case, Mr See if I move this around, Okay, this is not too bad I can work with this. So sometimes, depending on the shape, you might need to do a bit more refinement. So sometimes you might need to move these points around a fair amount until they get the nicer shape. Kate depends on the shape that you are working with. But you can see that if I were to remove all of these mash points simply pressing delete on the keyboard, I can use the mash tool, which is you on the keyboard. And with that, I can add new lines in. Okay, So there's actually one more line in here, which I can again just delete and then add the new ones in. The only problem is because off this weird shape, no matter where I place these points, they will always create a bomb here. Now that bump can be refined, but because there's no actual direction lines, it will be hard to completely get that smooth. Okay, So my advice is normally to stick with the original points or mash lines that were created . Ah, and just try to refine them. So I go back to the way it was originally. This is how it looked originally, Something like that. And I think the main problem here was to move these points a little bit further out something like that. And these can come a little bit further this way, and then this bend, I will drag up there, so that already looks a bit healthier. Um, the shading detail and the you can also drag these even further up if you want. So that way you have a little bit less shading on the top and mawr shading at the bottom, which would be naturally if the sun or the light is hitting this guy from above. The same thing goes for these details. Here. I can drag these points a bit further out closer to the top. So the the highlights arm or closer to the top, and there's more shading happening underneath. So you see, with a little bit of adjustment, it looks already so much better. But now we can add the noise texture on this so you don't have to use the noise texture like this. It already looks really cool, like more three dimensional. But if I select this greedy in most likely created and I go to the effect menu between that on the texture, we will find the grain. Now this is a very useful feature, because with this we will be able to create the effect. But it's important that the whole of Jack needs to be selected, so this can be applied to a single part. Ah, single anchor point as well. But that's not what you want. You want the whole object to be selected. So I use the selection tool, the black arrow, making sure the whole object selected. And then now that I see the A fracked, I can start playing around here. I like to use the contrast the ocean, but you are more than welcome to try any of these other options like that's the regular option as well does the enlarged option and so on and so forth. So I like to use the contrast Iran, and sometimes I increase the contrast evermore. Sometimes the intensity as well I increase and if you click OK, this is going to be rendered, and this is how the final result looks like now if you want the shading to be stronger, so if you feel like once you applying the the grain, um shading is not visible enough. You can still go into the re color artwork option the little color wheel on the top and you can steal. Adjust the colors. Now you will see that by doing that. Okay, we will have, sometimes a little bit weird facts. But let's say if I click OK, no, it's still creating the dark detail that let's see if he said this to normal. That's still with weird. Okay, let's just bring up the appearance panel. Whenever there's something wrong, you should always check what's going on in the appearance panel so we can turn off the green effect just to see what is happening. And I can see that the dark details are getting too noisy, so there's too much like black lines appearing there. So maybe what we can do is to go back to the effect itself and reduce the contrast or reduce the intensity, something like that, and basically fine tune the effect, so that looks already much better. And don't forget, you can steal at just also the anchor points. So if you want the effect to spread out a bit more on the on the bottom, you can also do that as you can see. So there's lots off options that you can play around with until you get the final result that you that you like and also worth mentioning that if I saw, like these top anchor points here and then I go into the re color artwork, I can actually make these brighter. And that way the shading won't be as intense there. I can't even set them back to orange like they were would just, maybe slightly darker. So that way we have more intense shading at the bottom, but much less on the top, and this applies even to these points here. So if I select another point, maybe around the shoulder and I want that to be darker and maybe closer to red tones, I can also do that. So that way we can again you can see how I like expand the shading detail there and then later on, I can't continue to have just the handles as well that we we have even more shading there. Or if I wanted to get more shading here, I can select that point and make that darker. And as you can see, that's also going to affect the final result. So, as I said, there's so many different ways of using this technique and it's a bit fiddly, but still you can get to a very interesting result quite fast. And because we are using the same effect, if you prepare your greedy and meshes in advance, we have to go. All you have to do is to go through them and just simply reapplied the effect that used because there's a short cut command shift e to apply the most recently used the fact. So if I just like this and press command shift E, it automatically applies the same effect and from the appearance panel, I can go in and refined this. We fight on like how it looks. I can increase the intensity, for example, and I can double check what blend mode I'm using on it. Okay, This case I'm just going to stick. Do not using the noise on the shading. Um, I think are based. Color is too bright. That's the main problem here. I'm just showing this to you if I if I go back to the same effect. So let's say we have something like this effect and I said, like the base color. And I'm just going to start tweaking that you will see that we will get a very different bland straight away. So sometimes it's not the effect or the object that you create on top. It's what's underneath that you need to make changes to to get the desire, the fact in this case I'm just going to keep it as I had it without the noise effect. I quite like that just having its move like this, maybe we can make it a little bit darker, and then we can see both the noise option on top and the down the noise underneath. As I said, Great working with greedy in meshes is always a bit fiddly. And, um, it's it's It's one of those things that you need really need to get used to. Um, and it's never straightforward. You have to mess play around, but luckily everything that you use is non destructive, so you can add match points. You can adjust the match points. You can adjust the effect as well, because it becomes a live effect, so everything is inevitable and you just have to refine the results and the effects that you're working with. 28. Day 23 - Ligatures (Id) #296/365: - ligatures is like one of those strange typographic terms that you kind of hear banded about a little bit. And my tutorial really was really to explain what a ligature is, why we use it. It's to do with readability. Andi Ledge ability of type. Traditionally, eso any characters that sit next to each other on the naturally usually feel a little bit too close, maybe because of just the way that they're made. This happens a lot with the F B. I is a really common on. Usually the full stop on the top of the I is far too close to the extended bar on the on the FBI, and this this makes it feel incredibly uncomfortable. And if it's in the whole big body of copy, you wouldn't necessarily know to sit. But you feel it when you're reading. If you were reading body copy without ligatures and with linkages, you would notice a difference in the ease of reading on DSO. In the tutorial, I explain exactly how you can have certain type faces automatically used ligatures so you don't have Teoh go through and apply them. It's something you can turn on and off on if the typeface supports it. Not all of them do a lot of the very traditional ones. Well or once made by big type foundries. Well, but not all of the necessary do. Yep. You can turn the morning going kind of letting design do the work for you, which is great for readability. That's kind of the main point of the tutorial in my examples. I just wanted to quickly mention why we're hearing in design that whenever you go to the cliffs panel and you select the phone like Minion, in this case, you can check all the ligature characters. So here you can feel too quickly and find that category off characters. And you can see that these are all the ligatures existing in that form. For example, if we switch to something else I don't know, like riffed on. Then check. If you don't see ligatures here, that means that this form doesn't support ligatures. So that's a very quick and easy way. Well, so to check it. Yeah, instead of trying to do up here and then reopening, the punter could just change ahead. Yes. Yeah. Huh. So, going back to your examples? Yes. So I with with ligatures and typography in general, a lot of it has kind of being can taking creative license with eso Originally, obviously these thes ligatures were made for readability, but now they've kind of become almost like a design style in their home, right. And you see them being used a lot on logos on its script, writing and stuff where they actually kind of helped to define a look and feel for something themselves. If you see what I mean. Eso here you have kind of still quite traditional sense of a ligature, but it's much more is more beautiful. That's trying to say it's a piece of creative, like an identity or so exactly on then here. Actually, I really like these examples because they're much more modern there. They look very contemporary with the kind of the style they've been created in, but it still looks great, and they're a piece of design, which you could put in an editorial context, all kind of wherever you wanted, really, or a poster. They've been applied to him, and I think it's just it's really cool to see something that is very traditional being experimented with in a completely new way and just goes to show that, like understanding these kind of typographic terms isn't isn't just about kind of like boring readability. Bet you can actually take, like, a lot of inspiration from the shapes because they're beautiful on. There's so much contrast in the difference between the I and what connects to the S. There's a really long, thin line, which creates a really nice contrast to the like, wider I and you know, it just looks beautiful from a visual point of view on just very quickly. If you did want to learn more about the's kind of terms, I would really recommend this book. I actually have it on Reddit, Um on Yeah, it's it's about It's about cliffs, which is mortar more to the actual characters in a tight in the typeface itself. But it does touch a little bit on ligatures, and just in general, it gives you a nice overview of how you can use type in, kind of like a different or creative way or the impact it can have on the meaning of something you're designing. Interesting. I borrowed this book for my t o cool 29. Day 24 - Less Anchors (Ai) #297/365: - just simply working less anchor points in general. And this is something that you need to learn them to get good at. Whenever you work in illustrator in general is the less anchor points you have, the more professional your work will look and the more easy it is to make changes. But of course, it's something again, like a learning curve or process that most of the time you would probably if you need to draw something like this, but dependable originally, I also would have probably used at least 10 20 different anchor points, and then it's not going to be as neat and clean as this. The key is really to learn all the short cuts that you have it, the pentacle, and also maybe relying on some off the alternative drawing towards like the reshape tool and recently introduced the curvature tool. But in general, really, it's about learning to really master the parental. That's what's going to help you to create these. So I don't really want to go into death on this, but in general you have the working 54 days so you can study what I use here and how I set up the anchor points and handles, but really pick some things that you can trace over with the pentacle, like simple objects or illustrations, and try to improve your skills and try to aim for the least amount of anchor points possible. Or also, and more fun way off. Improving the skill would be the game busier curve game, which basically teaches you exactly the same thing. So if I want to go to just keep the tutorial stage, this tutorial or this little example here already starts counting back. So we have 14 anchor points or nodes left to work with. So here I can maybe save one by doing a little curve instead of doing three anchor points. I only used to, and then these points here, I can actually, they need you. They need you toward on the old key or Option key dragged that back on. Then I can do a straight point there and again here. They actually want you to click and hold on the old key. Drag the anchor point Al Click dragged the anchor point. No, actually threat there we have to click and drag drag the anchor point back, holding down the old key again and then keep going. Click, Hold on, hold dragged down, click or them or now tracking back and so on, so forth. So you can see that instead of doing so many anchor points around the wheels already, I managed to do them very simple to anchor points. And then, uh, yes, this this game teaches you exactly how you can save anchor points and work more professionally. It's really Yeah. We also have lists of other games on our resources page that it is used for graphic design . Yes, so, you know, on our side, it's good that you mentioned that under the Resources Tab page, you will be able to find the games and APS for designers so you can download. This is a PdF downloadable. Pdf 30. Day 25 - White Tigers (Ps) #298/365: - But the reason I have done this is to show that it is so important to find good reference images when you want to do things like this so you can struggle with badly selected photos , and you can do as much as you want trying to make them work together. But if there's just no connection between them or no aesthetic connection between them, it won't work. Of course, things like making things work in three D space is very important. So this, apart from the fact that this girl already seemed like she is leaning on something that was the key that I feel would work well with the Tigers. I made sure that the Tigers had is in front of her, but the body off the tiger goes behind her. So there's that intertwining in depth that makes them connected also. So, perspective that and then, of course, colors as well. You can see the original colors was this, and I tried to harmonize it with the surrounding colors by using occurs adjustment leer on refining the colors. Cool. Now looks really convincing once you've, like, actually realistic. Yeah, once you've considered that like you say things like color and death on like and actually how it would just picturing how it would look if it was actually photographed on like he's obviously the the the lower body of Tiger wouldn't sit in front of her because it has debt that has dimension is really cool. And then you have just one last thing. Here is the shading, of course, consider again, like being trapped. So areas like this that wouldn't be much light. So you have to add a little bit of extra shading. Otherwise, it just looks weird to be so bright. Even like this here would be much more, doctor, because off the tiger costing a shadow there Yes. So, yeah, that's combination. Photomontage is like photo retouching. You have to learn these basic things. Once again. Most of the realistic results relies on your understanding of perspective, depth and light. 31. Day 26 - Design Rules Part 1 (Theory) #299/365: - So in this tutorial, we wanted to create some editorial about common mistakes designers do when they first started now or even established designers can accidentally plate these mistakes. For example, is one of them is stretching type of a free, especially afford to show law is quite common to accidentally stretchable. Exactly. If you know, holding down the shift key in case you're using free transform even in design has also learned to not stretch your type on. Uh, that was one I wanted to show on. Then the other one again was turning on. Uh, it just you just have to either manually can, uh, letters that are really joined together, for example, between doesn't read well, so you just used old and the arrow keys to adjust him. You just have to make it eligible. Turning is not important for the body copy, but for titles and headings and things like that, you should pay attention to it for sure. Yeah, I could say with body copy. Sometimes it's really hard. You can't miss them, and it's fine, but for things us, really first year for setting your body copy, you can use like tracking, which is like a more universal or global. Yeah, it's the same shortcut but applied on the whole taxes. Exactly. Yeah, yeah. So another rule is leading now is to space in between the sentence, so make sure that it's not too tied or to lose our our eyes has has to read text. You know, it has to be easy for us to read Onda uncomfortable. So tracking lead in turning These are type rules are as a designer, we should apply on on 12 Stevie's. We've done individual two tours on each of them as well that you can follow another one is often on grunt, which Emily has under two to around before the common mistakes. Which way we some really make mistakes as well. Like these on Yeah, we just have to be more be aware off these issues on manually. Fix them. Yeah, Onda. Another one is using too many typefaces. Instead, try and use one or two forms on use. Different variation Have that one on the right is one phone. It's just using it just to see clotted and doesn't look professional on the left on if you use too many typefaces on, uh, and I've just found some, like examples, which kind of breaks everything on You can tell the new or they're not designers, but it just doesn't work. There's so much for so much colors, so much noise. But, you know, he is used for marketing to something. So you know what? I literally couldn't. I mean, the thing that gets my attention is hand fest, which is no one important piece of information I can't really tell. I don't know what you're going on. Yeah, this is so confusing. This is a This shows everything about. Sometimes you don't have images to work on us. If you're only using type, it's no problem. You can make it vegetables on. Uh, so these are things they should avoid. And again, this is on the line. No buses. I'm sure there was in the nineties, but the bad turning around often. Yeah, So, yes, we have, as a designer, we just have to be aware off thes common mistakes with them on uneven like things like breaking lines in typography. You have to consider, like, stop em. The Emmy separated, so it doesn't really connect, and it's weird. And even London Bridge I would like to have in one life. So just to be the little bit off, better turning or tracking, we would have already get this there, and these two next to each other already would read much better on your brain. Naturally makes those connections as well, like London umbrage Where is automatically connected in their mind. Eso we would expect to see it connected in prose. Really nice bad examples, for example, like we talked quite hard to find and you found and I don't want to get t It's beautiful avoiding me. Yeah, you can see it'll the mistakes. But I think these are people when when they're starting now. And I hope this, I think, has designed when we first I was so excited to use the software, you try different phones and different colors. We just put everything in one and just being no 32. Day 27 - Concentric (Ai) #300/365: - and this is something again relies on my favorite feature to show the transform effect. And here, really, all that you need to remember is to set up a group off objects and apply your transform effect on the group. Because then whatever you do leading the group, even like if I just select this star, for example, and move it around, you can see already it will work with all the effect them in all the elements within the effect. So all these little elements can be moved around within the group. But the key is really the effect itself, which is set up in this way that we have the bottom edge off that group sent as the reference point and the copies is Sect in 19 and the angle is set 18 on the reason why this is the one. These are the numbers that you should use because 19 copies means 20 instances in total, and 18 is 360. Divided by 20 is 18. So basically you want to have an even amount off instances on that 360 degrees circle. So that's how you get the perfect amount. So set the copies to 19 and the angle to 18. If you want to have only 10 instances, you would set the copies to nine. But then the angle needs to go and twice as much as that. So it will need to be 36. And that way we have now 10 instances evenly spread around the circle. So obviously you can go even further than that. You just have to keep following the same practice. So if you said nine for example for the angle, then you can set, I think 39 copies. Yeah, but if even if I just reduce the angle or increased angle a bit, it's not even. Yeah, so you have to. You have to remember these pairs, the angle and the copies and how you paired them together. So that's the concentric drawing technique in Illustrator and just one last note there. If you double click on your instance in which you have the old owner, which you have the effect set up, you can dance. Start growing inside it and it automatically creates the drawing in concentric because you have working within that object where the effect is applied. Minister nicely mess this up 33. Day 28 - Shading (ProCreate) #301/365: - something I wanted to just talk a little bit about and explain how to do the shading. The most important thing is to decide where your light sources whenever you do this first thing, you think about where the light sources now can, of course, have multiple light sources as well. But generally you would have won. That is the strongest, which could be the son in this case. Once you have that established and you have a direction, you would know where your cost should always going to fall and how far it's going to fall as well. So you can draw that first, so there's a car shadow. But then we need to draw the shadows on the object and the highlights as well on the object . And generally that's what you see here. I have shadows on one side and highlights on the other side and thinking off the light coming from above. I know that the top off the object also will get highlights, so anything facing up will be bright. And then anything that is away from the sun or hidden away from the sun will be completely dark, like this one here or again that one. There is a trapped light area where there's not much like reaching, so that will also be darker. So think off everything in three dimensions and in space. You have to think off the space around the object and how the light is interacting with it . It sounds very like technical, but it is actually a very simple, simple, like piece of theory. Yeah, exactly. Eso even a simple illustrations. This is the exact same thing that you would apply. The more you study about it, the more realistic feeding you can do. But for simple illustrations, sometimes it's it's very even. Sometimes there's just like 1/2 shading. One side is in in light. Other side is in shadow. 34. Day 29 - Fur Effect (Ai) #302/365: - the key is really to have the rough in effect, applied on the objects that you're using and make sure that you are using different amounts off the effect. So if I turn this one on, it might take a little bit off time, as you can see, because it will have to render these independently. And I don't want to crash illustrator for the recordings. I actually will just cancel out of this. Just remember, rough in effect and then the blend feature. So have two separate objects. Circles in this case set up with Ruffin, also two different colors. That's important like this one. Actually, I'm used ingredients, but even if you're excusing simple colors, it would work because you have to stay. Friend Ruffin effects on the two endpoints and two different colors. That's the actual final affect that you are getting. And of course, I can move this around and we can see how it steal. It feels like a three dimensional design so we can see how the for is going from one side to the other. Yeah, relax. Amazing like I wouldn't have thought it was created an illustrator to realize that's really cool and you can always. So if you want to change the direction, for example, off your bland, you can going to object blend and you can see reverse spine. And that way you can change the order off of it. So even in this one guy, so like that one object, bland, reversed spine, we can see again how different it can look. Yeah, it's already cool. 35. Day 30 - Swap Hair (Ps) #303/365: - again . Most important to find good reference images that can work together. So here, in this case, I have this girl's hair borrowed moss out and then placed on top off these girls portrait and face. Yeah, and then, without changing the colors, it might still feel a bit weird. But once you try to blend or apply colors that were expected of it the image, it can look much more natural. And then there, uh, realistic again. Mosque ing is the key here. Really, you have to make sure that you Moscow details and again make sure the hair comes in front and behind the head. Otherwise, it won't feel connected, really paying attention to detail with this kind of editing. Same thing with the Tigers in front and behind will immediately at that that connection between the two elements that so it doesn't feel like it's just sitting on sofa light. Yeah, on being flat 36. Day 31 - Organising Illustrator Files (Ai) #304/365: - a pointer. Really? For illustrator wherever. Whenever you work in illustrator, always aim for organized layers. So not just group your objects but also have layers set up, which makes things much easier to move around and to get access to. So, like this little administration here, I have the sky on a separately. You're the ocean on another one and the shape on another one. So I can very quickly get to a selection when I can move the ship around and you can see how easy that Waas or I can select. Maybe the sky separately, underwater and I can very quickly re color them. If I wanted to me, then maybe a little bit darker, I just go to add it and reduce the brightness on again. I'm not messing up the board because I have it on the separately year, so it's a really good practice on all application and even in procreate. Just keep things separately as much as you can on so that you can do basic editing like this. My have worked and a lot of designers, especially in design, they just put everything. One document. It's so confusing, especially for taking on their work. Yeah, I was just about to say, And using the layers panel properly and all of the applications make it's, it's so much easier for another designer to pick up your work and be able to tell how you've set things up, how you've made certain effects and because we don't do things like slightly differently. Like you know, the Siri's. You can see that you could achieve a very similar results in three or four different ways in some applications. Yeah, so it's helpful for another designer to be able to see exactly how you've done it, because they might do it differently on it might mess up the illustration photo. So yeah, really important to like get to grips with delays panel And he was just a bonus step. You can see that my art board is not matching the outline off the administration itself. He go to the object menu. Under art boards, you have the fit to artwork bounce and that where you can very quickly snap the art boards edges to your illustration because the outboard that will be important once you export to file itself into jpp NGO. Something like that, it will rely on your art board. That's really cool. Says so much quicker than using the outboard tool. So, yeah, if you have your illustration just allying the art board to it to read. 37. 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.