365 Days Of Creativity - Month 11 | Martin Perhiniak | Skillshare

365 Days Of Creativity - Month 11

Martin Perhiniak, Design Your Career

365 Days Of Creativity - Month 11

Martin Perhiniak, Design Your Career

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36 Lessons (3h 7m)
    • 1. Welcome

    • 2. About the course

    • 3. Day 1 - Birds Brush (Ps) #305/365

    • 4. Day 2 - Design Rules Part 2 (Theory) #306/365

    • 5. Day 3 - Autumn Leaves (Ai) #307/365

    • 6. Day 4 - Cog Logo (Ai) #308/365

    • 7. Day 5 - Avoid Tangents (Theory) #309/365

    • 8. Day 6 - Rotate & Copy (Ai) #310/365

    • 9. Day 7 - Nature Copy (Ps) #311/365

    • 10. Day 8- Colour Pairs Part 2 (Theory) #312/365

    • 11. Day 9- Sinking Effects (Ai) #313/365

    • 12. Day 10 - Design Trends 2019 Part 2 (Theory) #314/365

    • 13. Day 11 - Dynamic Type (Ai) #315/365

    • 14. Day 12 - Banana Twist (Ps) #316/365

    • 15. Day 12 EXTRA

    • 16. Day 13 - 3D Extrude (Ai) #317/365

    • 17. Day 14 - Repetition (Theory) #318/365

    • 18. Day 15 - Drawing in Perspective (Drawing) #319/365

    • 19. Day 16 - Melon (Ai) #320/365

    • 20. Day 17 - Design Areas Part 2 (Theory) #321/365

    • 21. Day 18 - Village Illustration (Ai) #322/365

    • 22. Day 19 - Crosshatch (Ai) #323/365

    • 23. Day 19 EXTRA

    • 24. Day 20 - Slice Tool (Ai) #324/365

    • 25. Day 21 - Symmetry (Theory) #325/365

    • 26. Day 22 - Footnotes & Endnotes (Id) #325/365

    • 27. Day 23 - Pinterest (Theory) #327/365

    • 28. Day 24 - Blend Type (Ai) #328/365

    • 29. Day 25 - Document Bleed (Theory) #329/365

    • 30. Day 26 - 3D Revolve (Ai) #330/365

    • 31. Day 27 - Images in Layouts (Id) #331/365

    • 32. Day 28 - Wolf Mesh (Ai) #332/365

    • 33. Day 28 EXTRA

    • 34. Day 29 - Zoom Effect (Ai) #333/365

    • 35. Day 30 - Global Mask (Ai) #334/365

    • 36. 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 - Birds Brush (Ps) #305/365: - a photo shop technique, creating the custom brush using birds and then creating this composition. Now the most important thing in these cases is to make sure that you first collected a couple of good elements that you can turn into a brush. And if you want to create this scattered effect, you can rely on one single brush as well. But it won't look as natural. It's always good to have a couple off. The brush is set up. You can see the original brushes here. I have these four cigarettes off birds, and those are the ones that you can see repeated here because I have done a very quick example. I didn't really have time to refine it, so you can still actually see the outline off the original text. If I wanted to do this properly, I would make sure that there's no visible edges like here and also around the edges there on the top. But I would keep it natural. Yeah, seeing steal the outline roughly, but make sure that there's no hard edges visible. The way I've done this is, of course, by using a clipping mosque. So we have the tax. If I turn off everything we have the original text there, which is still an addict creditable textile year, by the way, and we have some birds behind the text and then to make it look like it's breaking up. From here. I created a clipping mosque lier, which, on its own, would look like this. So if I get rid off the clipping mosque, that's what we see there. So that's what gets clipped onto the text itself. So that's a very simple set up, and the most crucial technique here that I would recommend to learn is when you are sitting a custom brushes, you usually would select a detail like that and then go to edit. Define brush precept, but once you created the brush preset, you will need the brushes panel. So from the window menu, go to brushes and video that you can have your custom brushes created. You can see I have these bird brushes here already. Now they are set up by the fourth to draw all that just drawn a separate layer so we can see it. They are set up by default to draw like this pain like that. But as soon As you go to the brush settings, you can assign things like scattering, but which you can scatter them out. You can had shaved dynamics having a randomized size even randomize ing that angle a bit, and then you can also add additional stuff. But you can already see it's starting to look at the more random. Maybe one thing that I would change also most of the time is the spacing. This is under the brush tip shape, so if you feel feel like there's too much off the birds in one place, you want to increase the spacing. So now it's starting to look a bit better, and here comes the most important did. So you have four different brushes of each different birds, and you want to combine those different birds. So what you do is you go in and look these attributes so the little local icons are shaped . Dynamic scattering and smoothing are all locked, and then you go into the brushes panel and switch to another birth, but the settings will stay the same. The only thing that doesn't unfortunately locks is the spacing, so the spacing you still have to manually adjust to make sure it's going toe work and there's a short cut to switch between the brushes and that's the full stop and coma. With that, you can see I can very quickly switch between my different brushes. So as long as things are locked and you're switching between these, you should be able to paint very quickly and easily using multiple custom brushes Nice. 4. Day 2 - Design Rules Part 2 (Theory) #306/365: - I think we are going to look at called positional rules again. As we covered in the previous month, we will talk about some rules or design mistakes that law designers tend to make, especially when they're starting now. Andi, in our tutorial, where you want to just share five different things that you should consider when creating draft layout on one of them is working on using grids. You mind always necessarily have to have a physical grid, but just having the outline that has a grid structure will automatically make your composition and look cleaner and clearer. So in this case, you can see that Navy's four different grids used four column four columns. Ali. Yeah, and yes. So that's one of the rules that you should apply on. The 2nd 1 is about negative space, which can be both color. Oh, empty wine space. So again, we want to show that you can. It is good to show negative space and composition. You don't have to clutter your design or fill up every single space, which is also quiet. A common mistake. A lot of doing this starts now, and I think the negative space that was again something that we covered in the series a couple of times. We've done logos and all kinds of things if it keeps coming back. But what I would like to mention here it's a good way to She'd see them side by side on the right side. By the way, that's a very common like Eastern European car in the like 60 seventies Hungary, where I'm from there. If this was the car like everyone had, it was so easy that cheap and easy to maintain trouble on. And, yeah, nowadays they're so expensive because it's like, Yeah, but that poster just simply uses negative space as a very nice compositional like framing. We have the color, both the background color and the white parts. I would consider negative space, while in the center. That illustration uses create creative, way off creative use of negative space, combining two things and in the same place So we see the teeth off. The wolf is actually the leaves off the pine tree, so it creates a very nice focal point by again using active space and with logo design. It's a very, very common technique that if you learn to use then you can. You can create a very compact s sense of lots of different things in one simple illustration, again, he had the tea and the house combined together simply by using one color or two colors on. Relying on the negative space, I think is, well, really famous example of a logo that has, like a double layered meaning with negative spaces. Beats if he goes, check out the Beats logo where it looks like a headphone and the B at the same time yet or the FedEx with the airline leading the type. Typography. Yeah, yeah, some really cool examples. Yeah, on also, throughout our 3 65 series, we've done lots of negative spaced local designs. So it's it's Yeah, it's really important to understand negative space and learn to use it cool On another one , you talks about WAAS using grids and alignment again, trying if you're using a try and make sure the numbers are like exact spacing. So in this case, you can see the thing is using grids. Not sorry. Smart guides try and get in the habit of using smart guys, too. Align your elements. Normally it's command or control. You the short got to turn it on and off. So you, yeah, relying on smart guys is great. Or use the align panel, which is there in all of the applications. But it's a common mistake. Make sure if you're using elements, they're all the same proportion in size. So it looks nice and keen online and distribute evenly on another. One is also we talked about this earlier, one just using the appropriate colors, whether for print or screen. Just avoid using things are clashing or two similar to each other. Yeah, you need to have a good contrast that works well. Yeah. Contrast is one of the key things that you need to learn as a designer and in terms of color and tonal values. And you have to always think about legibility in case if it's taxed but also visibility when it comes to graphics. Yeah, especially here, where you've got that like really bright, bold, vibrant color in the background on this kind of like slightly duller lemon over the top. Just it just gets lost lately and actually is really incompetent, and that the green is so full on and then you're kind of trying to make out what that is. Yeah, yeah, Good example on another one is also, um, it's against him. Teoh Negative space, but usually using extreme crop it it's okay to play around with sizing on in these cases. These are good examples off something that's really big or really small. What works well as a composition, eso these examples that really like because it it talks about 22 things in one scale, which is always live on. That's very important and the crop that we will be also covering next month, cropping pictures in general. But using an extreme crop means like free, especially the one in the middle of the Happy Father's Day, because it hides the majority off the object and focuses on a certain aspect. Just a top off. The bond really highlights a detail that we wouldn't really pay much attention to. But this way that the sesame seeds are not there. It's also has that extra connotation. The board nus does, that s, oh, it's it's being confident in simple techniques like cropping can lead to a whole advertisement campaign. So yeah, these things simple techniques are very important to learn. I think again, like using like negative and blank space comes into the M. O. Here is well, like there's very few design elements, which to when you're starting out as a designer, you might feel like always to empty yards. You know, I'm not making interesting enough. It is actually more interesting because there's so little it's involved. With Great on is is thes sort compositions that's gonna get you to the level that you want , like came for, like the big agencies, because it's all about creative thinking and just thinking outside the box. Yeah, the ideas it's good to be technically aware of with the skills. And but like in terms of walked in advertising, it will be the ideas that you think of madmen on. I think that was it. And then you have also some bad examples. It is hard to find really bad example, because I think that the sites that we use are actually really good, yet be hands and they would shoulder once. But again, this is a good example of how the colors clash. Yeah, there's no negative space. It's just all over the place. You have this one. Yeah, full on Smiley face is really scary. So, yeah, I think sometimes you have to really analyze or just look at bad examples and avoid them. Yeah, yeah, but But it is a good good point, really, That actually we should create, like a website collecting bad examples. But we're cool. And then, like the having comments on how to improve and we're doing something like this one. I mean, the guy's never being really nice. Yeah, it's got a nice They're like undertones of it. Cool, like, groovy kind of feeling. And you can see what they're going for. They just overcooked it like a loss, actually bunt way. 5. Day 3 - Autumn Leaves (Ai) #307/365: - What I created first was a greedy int that I wanted to like. Sure how leaves from like the nice greens they tend to first and yellow, then red and the brown. So the transition from the summer colors into the autumn colors. But what I wanted to show in terms of technique is more about how to create multiple objects and still being able to use one single Grady int on them. So ingredient that goes over them. If I select the Grady until now and use just passing the G on the keyboard and just click and dragging, you can see that this is one Grady and that runs through the whole design. And I can easily change the direction and spread anytime I want. The way you can achieve this is first of all, you create all the elements that you want, select them and then turn them into a compound shape. That's all you have to do. Go to object, compound path and make now, sometimes illustrated. One. Let you do that in case you already have things like clipping mosques in your selection. So you first have to make sure that you just just get rid of anything that causes issues, simplify the elemental with and then create your compound path. And once it's a compound path, even though it's independent objects of these are independently selectable elements. It's still going to handle it as one element, and hearing the leader special as well, we can see is just one single shape. That's why you can have a great day and running around running along. It looks really great on so really useful technique to illness. I think it's cool as well. It's It's like a more uniform way. Instead of kind of trying Teoh scatter some green and then some orange and then some yellow . If you know I mean, like so each individually has its own color. Whereas this has like a nice, smooth radiance of the sun that multiple colors and look really cool. Like so, Yeah, that's something. I know that a lot of people in illustrator struggling with the compound path in general why there is a need for it. I wanted to show an example which hopefully will help you remember like Okay, in this case, compound path has a reason to create it because I know I love like when I teaching classrooms, Students usually are annoyed. When there's a compound part of I Z there, why can't I do this? And that we did, Yeah, So it's good to understand the reason why you wouldn't need a compound both, but this is just one of many instances where you can have it or where it's useful. 6. Day 4 - Cog Logo (Ai) #308/365: - I created this. No, this is actually yes, this is in for sure, although it could have been in illustrator as well. But you're right, it's for the shop. It is a local designers when I after knitting Illustrator. But I think the reason I've got it in for the shop waas because I wanted to do three d. Yes, that's what I have done it here. So the co think here is that this text is still three D. So if I wanted to, I could actually turn the three steel in three D. But the most important thing for me was to make an accurate camera angle. And because I'm using white object or provide background, that creates a negative space use here on the top. So our taxes actually fading into the background completely. Plus because it's the Coke is the word. I also used a little like on that little Coke icon on. I placed it there to steal like work with the meaning off the text itself. So this is something that again is a combination off the techniques year, using a big of three D to make sure that the depth is correct, a boat. So the basic use of negative space that that helps in this case to make this unique one additional thing that I wanted to mention is whenever you use a three D text in fourth shop , it tends to look a bit. Beauty it. Even though it was black and white, I needed to use a levels adjustment layer on the three D object for it to be very like black and white. Okay, so it's a cool thing. You can do adjustments on three D objects before rendering them How, Why Why is it like a lighter grey? To be honest, you could actually fix that with the lighting so you could go into the three D panel, make sure you have a very harsh lighting, which creates black shadows show, but it's a little bit longer to set it up that place. So I find it just easier to use an adjustment layer and then increase the contrast with levels. That's all I did hear kill. So it's just faster. Yeah, yeah, yeah. Like if you're not familiar with three D applications, but you want to do three D and you are good at photo shop, make sure you try these features as because for the ship actually can do quite a lot off advance three D features. We covered some in the past months, and we will be also covering a few next month as well, so highly recommend to check these out. 7. Day 5 - Avoid Tangents (Theory) #309/365: - here we have already something that is fixed or is better. There's no not much issues with it, but just I'm going to show you one a very simple example. So if we have, for example, this screen here and I move it so it touches exactly the guy's beard, something like that, then it starts to feel uncomfortable. Yeah, you, you just have, like, attention Point had, like something is not right or the same thing can happen. If we put the flower this pot all the way to the edge again, it's it's nice and aligned, but it just feels like the pot is now part off the shelf, so it doesn't look like two separate objects. The same read the books is well, if I move them all the way here again, it feels uncomfortable or even worse, if I move even further and then the book and the background starts to blend. In this case, negative space is not a good thing. Alignment. And then the alignment. Yeah, so the same thing with base. If I If I move it all the way here again, if you don't know whether the table is in front or the lamp is in front like it's a big mass. Now, this area here, same thing. If I move this here, I think there's something as well about, like making a composition, especially one like this. Feel natural on you wouldn't necessarily like. And I can kind of pick up on something without you really noticing that. Wouldn't feel right like you wouldn't align your plant and your margon your everything to like the center to the edge of your table, you know, and just so looking at it like you feel like it's uncomfortable. But you can't quite put your finger on Why, unless you're trained as administrator. Yeah, so even just these couple of things, if I quickly go back, it will already feel better that way. Waas originally so we have a sense of depth. Things are nicely distributed on the design and, of course, like not just the tensions, but also remember the same thing they talked about already. Contrast. So if you have like a this pan here, it's so blends together with the background. So it's again uncomfortable. So pay attention to these things and even like this thing, I would probably make this just tiny bit smaller, so it doesn't clash with the detail above it. And then it just fits in nicely immediately and even thinking about the scale of that of the pen poor compared to the max like it did feel a little bit Teoh, considering the size of what we would assume a Mac would be, Yeah, cool. So, yeah, that's avoiding tensions. So don't align things to close a making feel like they're continuing one object to the other eyes, one off the skills, you as an illustrator and there's a graphic designer. You have to think constantly, so they're every composition. Always keep that in mind. 8. Day 6 - Rotate & Copy (Ai) #310/365: - basically this Fortis tutorial. I was just experimenting with the different things in Illustrator, and I realize that what you can actually drool with this technique eight and duplicate on the feature All you all you need is an object like this object. Let's say we just pick this. Just let me just both warning. Yeah, hopes it's just move it That's too small to get t move it. That's moving a little further. Maybe this whole thing we can move to the sign during the back. And I had the references well, for this, but yes. So if I move this year and use the rotate simply passing are on the keyboard, and all you have to do is to click somewhere on part board and then holding down on the old key you can and drag your object. That means you are rotating and duplicating at the same time. And then comes the technique that is the key here. Pressing command E. On the keyboard will repeat the last step. Now, once you get to a point where you want to change direction, you press somewhere where you want your center of rotation or click and drag the object. In this case, I would drag it a bit, then control the OCA Mundy. Continue again. The rotation rotate again. Maybe about here, or click and drag. And again, you can decide the direction finder. With that way it will keep on going that way. Or I can do this way. And by the way, you can test and see how it's going to move so you can tell the direction very again. Make it very close and tight. Then I use the control command e and keep going so on. And of course, it starts to build up a sense of depth as well. From the point where you started to the point where you arrive, I think is really cool result because they're so close together. You get this like, black edge on, but it does make it almost feels like a three D complicit. Yeah, sure on this is actually something that I had like after you showed us a tutorial. I had, like a little player. It is good fun to try out doing, and it also taught me a lot about using the like understanding, like where I placed my center of rotation and how that's gonna affect my object. So it's a good good learning about this tool 9. Day 7 - Nature Copy (Ps) #311/365: - This is similar to last month's, one that we've done with the paper caught style where we have acting son straighter here. Instead, I use a photo within for the show and used again a letter as a container. So I start with the Taxslayer simply, and then I clip this image onto it by old click. Between the two layers, we can see the photo and then how it looks clipped onto it. And because I have an inner shadow, there's a depth reading. It's using The in. The shadow already helps to achieve that. But then, to make it more interesting, I used the same images separately, year and most out, certain details that feels like they come out off the text out. And then on that one. I use drop shadow so they feel like they cost their shadow. So a simple combination off a letter on the image It's really cool because the end axes like we don't quite a few to tutorials on like frames on our outward bounds effects. And that is like another way of creating, like a using a shape in this case, like a letter as a frame and then having stuff coming out side the boundaries, which is an interesting way to kind of, like, get some, get some more personality into an image. And I can imagine this never outdated. Yeah, he's always fashion. So during fashion. Yeah, it's a very useful technique as a designer to learn. Yeah, yeah, Fairly quick. An easy to doing for, to show a strong, as you know how to do masking and selections. 10. Day 8- Colour Pairs Part 2 (Theory) #312/365: - in these examples again, I want to show some color combination that could work. For instance, I really like the red and the gold. It's very classy and elegant on can be used for Christmas menus or invitation, but it just I think those colors are very rich. Andi. It's really sophisticated. So if you're doing the menu for posh restaurants, these might be a good many color. It's very great Gatsby's, but it's also quite common in Asian patterns. So, like China's and even self Asia. Yeah, these colors are very rich is for the luxurious brands. Arabs is, well, Arabic. Luxury products will probably use these soft colors, so that's, Ah, good color combination that could work. This is quite playful, very salt tolerant. These colors are quite common to find in like Children's ministrations, even like really feminine were good products. Again, I really like these past. Any colors on duh thes thes are still like popular, and I think is a really good combination that's very like, meted and Relax doesn't say it sets a nice tone of voice, likes very approachable, friendly on another one is again. These are really bright, vivid colors, but again used for, like Children's illustrations, more like patterns. It is a really good, fun, friendly color tones. There is really work well together. I love the way that these three examples that he collected next to each other shows very similar color pairing. But just a subtle change makes so much difference, Like from here, when we have the strong, saturated red and gold Teoh just simply by muting the two colors immediately get a completely different field, then to slightly amending the color. The red, which turned first pink now is somewhere in between. No peachy color now has a probably a little bit more yellow in it. Or or green. Yeah, again has a more fresh feel compared to the previous ones. So almost the three almost two color staying bus suffered a change makes a huge difference and experiment with 10th and saturation off. The colors can completely change your the mood off the artwork. So again, and this is a good example, although these colors are very similar, can create contrast in our work, and sometimes it's good to play around with different colors on, not just stick to one color that you might like again These are another feminine. So off pink and vibrant green thes color palettes are actually going to be on trend next year with the Pinkel and pink and purple. I'm gonna be really popular. Nicer on the's ones again. My favor completely contrasting dog. Great and dark. Maybe which is represents in, like, cold color. Where is the yellow is really happy. Both complement each other so well. Yeah, I love this palace is probably my favorite of the ones that we've got here. Like I agree. The contrast is just so nice to as a viewer is so nice toe like look out! Especially especially on the illustration on the left. You can imagine it's like a really nice cushion. Yeah, yeah, paper. Even. Really nice. And it goes really well online. Muted. Like Like I said in the home way. If you are even things like, why talk cream and having a pop off yellow and blue can really work well, yeah, it's the same with graphic design, interior design and graphic design. Very seems related. Yeah, So if you want to learn more about color and color combination, we've listed like three sites that we really like one of them is obviously adobe color, which is linked to your adobe membership. It's a great way to reference existing color palace, or you can create your own by uploading pictures that you like on. But there's also trance here so you can go into the most popular month because basically, you can see what what is trending. I think that was a very of also getting Teoh all themes, maybe most used. You can say all time. That's not as maybe no as current but all time most popular. But if you say this week, most popular, they haven't actually did this weak feature. But you're probably this month. Most popular is giving you a sense of what other users are working with, which is basically trending colors. Another one that I personally like is a color hunt, which is again by Goshi. You can see the trending color palace and really good use off colors on. Then you can also see the popular one random ones. But these are really good way to see what's popular. What people are interested in C and then you can use it for your own artwork is really good as well like these kind of sites to just look, even if you're not working on a specific artwork, it's good to just see the color combinations well together. Like on just understanding why something you might hear. They've laid it out so nicely. You can really see why colors start to work together well and complement each other. So even just perusing these sites just to get an idea of the kind of colors you could start using when you in future projects definitely on the last one I really like is picking people Qula, which is basically concerts for anything. And he saw find Color Torrance similar to what you're searching for. So in this case, we set for forests, and these are all the time. Start. You will be assert state for us with cool. Maybe just one thing I wanted to mention with the color Hunt website. I like the fact that the colors are not equal in size as well, which is not just a simple design decision here, but it's actually to do the thieve. Any work with the color, harmony or palette that you would normally have like the most, the primary color or the strongest color in your set, and the others will be complimenting that he would have the strongest one, then the second most important. And then you would have your highlight colors. So most of these are already laid out that way. So there's actually an order in these colors. Yes, I'm like you said, Everyone you have to use them wisely is bearing. You can't You can't just don't make it to clotted. Yeah, like for example, you wouldn't necessarily make your background this, like very bright pink that we have. You would make it the more muted Blue. And that's again why, they said, it's kind of like a hierarchy. They've already international ballons. Yeah, cool. 11. Day 9- Sinking Effects (Ai) #313/365: - This is to do the sinking effect on typography again, this is a trend. We've seen a few examples off this, and it's it's quite popular to use this not just on typography, but also on all kinds of things in general and illustrator. You can do this very quickly and easily. All I've done here was to chop the bottom half off the text duplicated, so simply duplicate the text, and then you can use the reflect tool to reflect the whole thing upside down. So, always the short captain, with people short, got to get to the reflector and I holding down shift, you can make sure that it stays aligned. And then once you have this other element, you just outlined the text command shift control shift. Oh, so then you can start using things like the forward Ward Tool board simply work tool, with which you can start messing up the outline. And that's all. The only additional thing I would recommend to do here is that you want to probably squeeze this a little bit further, so it feels more like just a water surface. So you have a sense of perspective as well in there. And yes, that's pretty much it. If I move this back here, we can see how the final result looks like I like. How will the final result you've really blurred out the edges of the letters like the top of the S and the high instead of keeping them is like straight lines? Because they wouldn't, they wouldn't be a war on. That's like a really good indicator of like, how the quality of the effect. Yeah, yes. So the further it gets from the actual surface on the meeting point, the more blurred they get Any. There's thes. He raised details here. I actually used the year eser tool as well, because some waves would overlap and it would break the reflection. So that's what makes it. Also, even though it's just black and white is, you still feel like it's water because all those subtle details again, it was a very quick one. But if I had more time, I could refine this much more. But that's in essence that the technique that you need nice, cool 12. Day 10 - Design Trends 2019 Part 2 (Theory) #314/365: - there are so many trends on. But we for this series, the next last three months, we've decided list 15 or so that we think that's gonna be quite popular in the graphic design world, on one of which is the digital paper cuts effect, which Martin has done a tutorial on on. And, yes, this is a traditionally people would probably use paperwork, a tactic photos. But you can now manipulate them, and this is a really good technique on. We will see Maurin Websites Editorial illustration work. So, yes, this is a good technique to try and play around with. Yeah, I really like this style. It's simple, still has depth, so it's not too flat. It's the combination off having flat graphics and still have some depth on them. So, yeah, it's a really nice trend. Yeah, Another trend we will continue to see is geometric shapes again. Geometric shapes has always bean. It's timeless yet, but it evolves, and this is a good example of how it's still being used. But trying. They apply bright david colors, which it's it is in a cup contemporary and popular for sure, and I think what's cool now is that we're starting to see geometric shapes used for far more complex illustrations. People are really starting to push the limits of what shape can do on a like last month, You you make the fox the friendly fox, and that was entirely off geometric shapes. And again, like we're seeing so many geometric states in this inspiration illustration hair. And I feel like now people are really starting to explore on, like use them for things that traditionally you wouldn't expect a geometric shape to work for, like a body or nature on actually like seeing that seeing them you so differently is really refreshing. Yeah, definitely. And so many different colors as well before I think, I don't know, five years ago, people be like keeping 2 to 3 different palates, whereas now graphic design. If you know the rules will use multiple colors and it is okay, you just have to apply and unsparingly. So, yeah, we will. Seymour Geometric shapes on as well as Hala Tareen broke both traditional as well. A digital on app such as pro Great now gives us so much like more flexibility to create organic, hand drawn style time, which is really popular can. It can give a lot of character to your logo's or designs. In general, you can see the feminine touching, that one on the left on. We have more playful, like childish character in the middle, and then we have a bit more like I don't know. It's like, really rhythmic Let the strikes in a musical. Very. Yeah, exactly. You know, he This guy's a really good a left hand. Literally. His name is Timothy Goodman, American, really good artists, And he does this use on Instagram on. We have published in lots off left hand literacy doing these type of work on Instagram, and it's really popular, So you will see more of these on and finally, and I'm sorry someone we will see is properly more mesh. Play around with radiant. We know it's already. Grady is also a very cool graphic design technique, but you again, it's more sophisticated. Now on. You can create really cool meshes such as these on. Then finally, we will see more mixed media on photo combined together video. Strange. Yeah, yeah, we used for marketing products and go home. And the good thing about, like following trends is that whenever you're working on a new project, you can look at the trends and you can think about which one would apply. And you can even experiment on the same project, multiple different trends, or even combined the trends like you can have. Maybe the paper cut and combined with mixed media and things like that. So the trends are not like set rules set to stone. They are things to experiment with. And it's not about coping someone. It's about being inspired and then turning into your your do it on. Then you're your thing might be so called in someone now is getting inspired by you on. That's how evolves. But the most important thing is to just adopted at the right time. Don't be behind too early. You have to apply, have the right stage. So it's natural for people. And that's why it's so important to keep looking at sites like Be Hands and Pinterest and Dribble. So you are always in that like a stream. Right time trends do move quite quickly. Yeah, and then follow blocks. I really like Trend Bible again. It's it's more about home, where and like textiles, but It's a really good way to find out on Learn more about trend reports, and this is this is free service, whereas if you work for a big agency, you might be you might have account for W C W GSN. It's like the number world number one's world trend research our company. So, yeah, I think these are really good inspiration. But all simple things like Google trends there free by it's a good way to find out what's currently trending on. Also, see the pattern between Trans in general. Yeah, eso, for example, If we are typing in illustration on Google trends, you will see how it is in the interest over time. In the last year, we can see. But if we want to change this and say I don't know the past five years, then you can also see it's interesting that it goes down and comes back again. It seems like in all the time time it comes back and then some of time goes down a bit. They can also see geographically where people are more interested in what type of illustration related searches on. So in this case, you can see like Bailey doughnut quite popular, so you might want to create something to do with those. Yeah, And then the cool thing is that you can compare maybe illustration to drawing. So once you have to search options, we can see that drawing don't know how Have I peaked so much year? That's very interesting, but we can see that drawing, obviously, is a much bigger term. Administration is more specific, but we can be compared. Drawing is a little bit too broad. We can just edit that and say Hand lettering, lettering again that's more specific off compared to illustration, that would be much, much less. But yes. Oh, so using trends is a very good tip for just generally understanding what's trending and what people are searching for. 13. Day 11 - Dynamic Type (Ai) #315/365: - the technique here was that I used the perspective grid, but in Avai that I used one taxed on one off the planes and the other tax on the other plane that we don't see the grade. You don't necessarily have to think about the perspective in them, but you can tell that they are distorted. But having having um perspective that works together but combined in this way makes it unique, the whole composition. So it's just simply when you are putting your tax down, you have to make sure that one will going would be going on the left side and the other one is going on the right side. That's that's all you need to do. I think this is cool because like using angles in your work, and it's something that I think we have a tutorial on next month, but this on and this is a cool way to kind of introduce angles, but with that, instead of just angling it to a certain amount of degrees, you can actually use perspective to introduce angles, which is I like to say something a little bit different, a little bit more unique 14. Day 12 - Banana Twist (Ps) #316/365: - the M percent created from a picture of a banana, The banana itself. I don't have the original photo anymore, but you can see that I actually use just one photo and then split it up into separate parts . Most importantly, some of these ports use the puppet warp. So to make sure that the twisting and turning in the right direction like this one here, you can see without the puppet warp, it would look like that. And with the puppet warp, it is following the shape that we need it or up here as well without the puppet warp and vit or damp it. Then as well. We now and on some details I had Teoh paint over a bit using the colon stamp tool Just a minute. Blend them even better together. But there's not much that I needed to do. I think that one and that on the top had to be just blended together using a bit of retouching that meet there. Cool. So yeah, and of course I had originally that the laughter in the background So that's the one that yeah, I used as a structure which I followed cold. So it feels like the original letter form 15. Day 12 EXTRA: you can see I already started Ah, the document by having a banana which is isolated. So there's no origin, wide backgrounds. It's completely separated from his background and I have done a little bit over. She showed the selection here, so I'm just going to quickly delete this line here just using the eraser tool. I didn't notice this until I've said the right background. All right, that looks a bit better here on this. This side, we have still a little bit off a mess. Um was going to refine this, but let me assure your cool technique, So I'm using the racer to You can see I can cut into shape with the racer tool. But if I want to have a very nice ah clean edge here, you can see it doesn't look good. I could use my mouse to and go over it like that, but it's really hard to use the mouse, especially when you have ah, curved round shape. So what you can do is to use the pant, will first and set it to path, then drew along the shape that you need to cover. And you can, of course, click and drag to define these shapes. I'm just going to click and drag a couple of times. I'm trying to follow the edge as close as I can. Okay? I'm like that, um, like that. And then I am going to switch to D Racer. Tool is going to go a little bit further out that way. And on this side, I am going Teoh, drag this point a little bit further out as well. Okay, something like that. So having this path created, I am going Teoh, Let's just like this point here, okay? Just adjusting the anchor points a bit. Just so It's a nice moth curve. So having this line created and my eraser to was set up to whatever I'm using at the moment , I can I can use the ah leer on the chip in Ani's. Select that path, then the pen tool, and then right click and choose stroke path. So you created a path. Select the stroke path option by right clicking, still using the panto. And then you decide which painting tool you want to follow and run across or along that path. So if I choose eraser and ah, I can keep on simulate pressure as well. Once I click OK, you will see what a beautiful outline we created with this So again, before and after. If I zoom a little bit closer here, you can see better before and after. Now, if I go back and I select my eraser toe and make it a little bit smaller using the square brackets on the keyboard, I can reduce the size Dan switch back to the pentacle and two stroke path when I click. OK, you will see that it covers a much ah, smaller area. So it was going to leave a couple of things here that I need to delete. But if I have the racer tool again increased in size and with a bigger size brush, I used the racer then is going to delete most of the things that we needed to tidy up, so that's quite useful. But another way of using the same path would be to use steel the pencil, click on the end, and then just create the big selection here, outside, off the banana like that, and press command, return or command enter. By the way, before you do that, just double attract that the shape is set to combine, combine shape and not subtract the combine shape. Then press command, return or control Enter, which makes sure that the selection that you created is the area that you select and not the other part off the document. So having the selection allows me to very quickly tidy up all of these remaining details by simply just pressing, delete or backspace so that completely erases on the layer that you have selected every remaining pixels. So now I can press commander controlled the decent like this and see how beautiful this outline is Now. Maybe this side here is a little bit too like sharp, so I can always use the eraser tool there and just refine it manually a bit. But that's the problem. You see, with a mouse is really hard to get these nice curves, um created. So that's why I prefer to you use the Penta whenever I can. Of course, with the pencil even more effectively off creating these things is to create a vector mosque. Um, but technique I showed you is good if you want to quickly ah, get rid off details, but still havent nice curved outline and there, and much better looking out lying than it was before. So this was a quick fix. But the actual technique is about creating the M percent with from this banana, and this is something you probably have seen again in the war mini tutorial. But I assure you quickly, the final result. So this is the final result that we need to create, and them it's actually not that complicated. So there's a couple of elements. I mean, couple off versions here that I created the But the most important thing is, first of all, we need to divide our banana, and I divided into three sections the endpoints. So the stem and then the I don't know the end off the banana, or like the tip off the banana and in the middle section, because the middle section we will be using a couple of times, so we will be using some in a couple of instances off the same thing. Otherwise, if you don't do at and you just try to use one banana and try to stretch it into this very long and complex shape, it will look very stretch. So all the pixels will start stretching and you want to avoid that. Otherwise it looks really fake. So let's divide the banana. Let's slice it up. But I'm going to use is the selection tool. And I'm going to make a selection first year off the left side, OK? And by the way, this is actually something you can use again. The pentacle, instead of using like the marquee selection is with the Penta, was set to the PATH mall. I can maybe draw more in that angle that I would cut the banana and then just quickly close this area here, Command, return or control, enter. You make your selection and then the way you can split the currently selected layer and separated the selection from that layer is the Commander control shift J shortcut, which is the layer new via cut. Okay, layer y a cot is the feature. So that means now this is, as separately, your I said, like the original banana layer used a pencil again. I'm going to probably cut it somewhere around there. Yeah, that's the tail or tip, and then command until control and command shift J. And now we have that also has a separate layer. Okay, without moving any further or before moving any further, I will change these into smart objects or convert them into smart objects. Right? Click and then choose. Convert to smart object will do the same on these other two. And I have a short get for this that I've set out to set up its custom shortcuts you can use. Why have a short that you wish? I like to use the function keys for this I have f six set up. They are the only keys that you don't need toward than any other modifiers, and it's still going to work. So that's why I like to work with them. But now that they're smart object, that means will be able to use the puppet warp on them without, um affecting the original details. So when a smart object, the puppet warp will become a smart filter. So what I'm going to do next is to increase the size off this and percent and, ah, if you are using CC 2019 just remember that you don't need to hold on shifty anymore to resize and keep the original proportions. It's a little bit still strange for me. I always keep doing it because it's such a reflex for I don't know, 10 plus years I've been doing it, and now they changed it. So it's a bit annoying. To be honest, Um, you can't actually set it back. The way it waas for New Year's is I understand that it might be useful for, but for those who got used to it, holding down the shift key to keep things in proportion, it's a little bit of a pain now, not having to hold it down. So even though it feels like it's simpler, it's something that they didn't think it through completely on. Hopefully, in the future they will add an option to be able to use use it the way it used to work before. But yes, that's just my opinion. But let's let's move on. So I'm going to put this and percent all the way at the bottom, and I'm going to resize the bananas a bit so they fit. See, that's what I mean. Like even now, I was holding down the shift key, and it started to stretch it without holding down the shift in. Now it keeps it in proportion by the fourth. But I hold I was for the old king. And that resize is old corruption key with sizes and keeps things in the center. Right. Something like that size, I think will work my sleep. And you can see already that I actually have a fairly good alignment here so I can move this banana somewhere around there. I can move the other shape here, and I can flip it around so I can use the free transform option or just go to the edit menu , transform, flip horizontal, then turn it around, unset it them to something like that. Yeah, something like that. I mean, just double check the regional design, okay? Actually have it in front so it can be somewhere around here. Yeah, that looks good. I mean, I can always move it even further up if I wanted to, just to match the original and percent a little bit closer. But the rial task is to get this shape working here. So this actually looks fine because it covers the connection between the two. But I can also rotate this slightly. Why is it not rotating there? You go. Okay. Something like that looks quite good, but here comes the puppet warp. If I now go to the edit menu and choose Puppet Warp, I can fix a point here and there and maybe somewhere around there. And now I can move these points around freely. So see how the puppet warp can transform this shape so it can help me to move these points and align them and follow the shape off the M percent. How cool is this? So you can literally then the banana into the shape that we need. Simple step after this is depress command J or Control J. That creates a duplicate up. We can move this up, use the free transform tool to rotate, don't write something like that. We can also may be transformed this. So I'm just going to flip horizontal that way we can with around like so and notice that I'm using because I have done a flip, um, horizontal. I am using the same shape where this ends on the next one. That's where it starts. So it's exactly the same thing. That's why it looks so similar. And like blends in really nicely by default without me doing much with it. Um, that's just another, like, useful technique to to use. Ah, I mean to work with. But because it's a smart object, the the puppet warp on it. I can just double click on the puppet warp, and I can move these points around. Now, this is the only thing that if you are flipping things around, this can happen with the puppet warp. So in these cases, you can right click and delete the small at the puppet warp, so it resets the layer, and then you go to edit puppet warp again. And then setting these points up once more will make sure that that doesn't happen. That that flipping, um, distortion that was showing before. So I can move these points in place, and I will need more anchor points so you can see for creating more complex transitions like this one. Here, I can use even additional anchor points on the corners and then online the edges even closer to what we need. Thanks. So okay, something like that. Now, this is a little bit to a sharp turn here, so I'm going to try to amend that slightly. Okay? something like that and then the same thing up here, I will have to drag this a bit back, squeezed these details in a little bit. And that corner definitely needs to come in on this site. So well, all right, so you can see that band there. And to be honest, after this, it's all about doing the same thing again over and over until you reach the end point. I'm going to turn off the the the lettering, the background so you can see how it looks so far. And I'm not saying this is perfect, because this this curve can be improved a bit. But you can already see how the technique would work if I were to create another duplicate off this, um, you can see we have another shape. We can reset this by deleting the smart filter and then turned letter back. I can maybe resize it a little bit, move it in place, maybe here on the top, something like that. Then go back into the puppet warp and then start turning it around. Now here's one other short got that's useful. And that is, if you have a point that you want to rotate No, only just move around but also rotate. You can hold down the old key and then click and drag. So, like this one here as well, old click and drag. See how immediately it fits into the shape that we need. So that's just another power shortcuts with the puppet warp tool. So what I would do is continue filling up the area until I reach all the way to the other side. And then off course, we will be able to turn off the the lettering, the background once you have it completely, field up. Um, if I show you the original version, the version that I created for the Siri's, you can see this is exactly what I've done. So I just continued adding additional layers until I reached all the way till the end. And then you can always use a bit of retouching to refine edges like here. I used these three years, I think, to actually this'll ear that on top, and I think I might have a couple of other additional layers just to keep some off the edges more nicely blended together. 16. Day 13 - 3D Extrude (Ai) #317/365: - This is a simple technique that relies on the three D level and extrude and bevel with which you can do individual objects in three D but also combined objects. This rainbow here, all I had to do was to create the elements first and group them together and then applying the three D effect on the group. So that's all you have to do once you do it in that way, it will work like this. But the cool thing is that I can still selling elements for off it like that and move it down and you can see how I can still separated. So these objects are individually extruded, and I can still move them around, sit in the group, and it will be rendered immediately in three D. And of course, if I select the whole object and going to the effect itself, I can steal move them around in three D space. So it's alleged ball, once you made it, you know, stuck with that. Yeah, Yeah, we left aboard. The colors can change as well, so yeah, everything is is very easy to update. And the reason I just shows these very simple shapes is to show mainly the technique itself , but you can do much more complex things as well. From this, although having said that Illustrator is not good at doing these three D effects as like for the show or especially Dimension, which was adobes new introduction for like three D modeling on moke up designed the's for the shipping dimension much better at rendering things. So an illustrator, you might see sometimes weird edges showing up, and it's not a well built for that. But the fact that you have still working with vector graphics on and having this I would call it fake three D. It's still really cool. Yeah, all right. You just maybe just one last thing is that whenever you worked with these three D options, you also can control. Of course, the depth so you can increase, decrease death at any point. So not just the angle, but that, and also you can have perspective. You can see it introduces like a camera perspective instead of just having an isometric view. So we're starting to have, like, a shrinking effect in the background. Plus, maybe one last thing here is that we have also the more options for light so I can move the light source around Onda. Yeah, again, It just has to separate the two sides of the object. 17. Day 14 - Repetition (Theory) #318/365: - this tutorial again was a little bit of design theory for you guys on them. In the tutorial itself, I show exactly that why it's useful to use repetition in creative projects. Repeating elements like it helps people to build like a familiarity with the brand or with the style of an editorial piece. It allows you to kind of preempt or you think you might see which makes your brand or your product more memorable. So you will see this happening on, like packaging design. You like cocoa is probably a good example. They have, like Diet Coke, regular Coke, Coke zero and there we'll lose a lot of repetition like you would. You can see that even though the different products you can see the brand straight, straight way. Eso this use of repetition really makes something memorable, which is really cool, and also it helps tie together, especially in branding products like this one. It helps tie together loads of separate elements that otherwise, if you didn't use repetition, might just look like they're parts of different brands so that you can see here and then. This is also part of the same yes, same set on So is this. And so is this. You can see how they really they really rolled out across lots of different kind of design products. So you've got, like, some marketing materials and packaging on the typefaces Aerial Very consistent. Even here on the language used as well as another really good point, like repetition can also on, especially in branding and design. Like you know, you having these like, Oh, hello. Oh, from the copies also. Yeah, friend for sure. Definitely. And it's something that you do need to consider as a designer that how your words, how all have the words you're given will be visually represented. So I think this is a really good example of a very broad brand that has a lot of different products or a lot of different marketing materials going on, that they've really managed to title together here. Nothing's been left behind. Um, similar to how is saying just now it's once you have, like a line of products, repetition becomes very important because they need to stand out and be their own. But at the same time, they also need to feel like they're part of a set eso again we've like in here. We've got a the change of color. But the repetition off the design on their like structure of the design say each pot follows the same typographic hierarchy and structure. But then we have different colors to give. That individual is very nice example this I just included because that's really cute. Just on also is kind of an example of, like, the repetition of the type, face and stuff again applied in a totally different environment. But you would still know. Yeah, they were the same brand. So yeah, lovely. Repetition is important theory to wrap your head around and to start applying again in editorial design as well. Right? Making sure that you have kind of consistent page numbers or consistent markers is important. 18. Day 15 - Drawing in Perspective (Drawing) #319/365: - This is a traditional media example off how to learn about perspective and out of practice. Understanding our perspective works because this is we keep on talking about perspective in terms of illustration and even like retouching. But this is something that I've learned a long time ago, and I still remember university when I was studying product design. How useful it was for me to understand perspective. All you have to do is to create something at home, a simple set up off, having two points fixed with, I don't know, a nail or something that you can put down and make sure its face or like a pain. Yep, and then have a strong string connected between these two already tight. It's important that it already should be tight, not loose. And then you put your paper. Make sure the paper is also fixed on your people or somewhere, so it's not moving around. And then all you do is simply use a pencil or actually, two pencils. Normally I would use want to move the string around and the other one is to draw along the streak. And basically, if you if you use this technique, you can draw very, very accurately in a three D space where these two points will be your vanishing points and that line, the string itself is going to be the horizon. And these are the key elements off working in perspective. So just simply doing a d I y, uh, set up like this can result in a perfectly accurate perspective drawing set up on then, for example, if you wanted to draw something that's under the horizon, you're vestiges drew underneath, so it depends how you want to set it up. You can also have your vanishing points further of a. Maybe this one could be further out here and the other one closer to the page. Then you will get again a different perspective, just like what you would do in illustrator when you move your great around and adjust it. So if you're not confident in perspective, try this out. It's a it's a fun little exercise, and just drawing a few things with this technique will really help you to understand how things work in perspective. All right, and check out the woman in media version so you will see exactly what I was doing there. Hopefully, we'll just have to understand exactly how it works. 19. Day 16 - Melon (Ai) #320/365: - this'll I mainly use just to show The feature that I love to work with is the symbol tools and the symbols prayer tool. All I had to do here is to create one off the seeds and save it as a symbol. But you must see here in the single spinal. So there's my symbol. And then using all these tools here on the left, we can draw with this symbol. So the 1st 1 I just can't find them. They Yeah, they further down. So these are the symbol tools, including the 1st 1 single sprayer with which I can continue adding more seeds if I wanted to. And then all the other was like symbol shifter can be used to move things around. We can use the symbol, uh, spinner tool to change the direction off and so on and so forth. So for any repeated elements, this is probably the easiest and fastest way to work. And then even these things are here are still symbol sets. The way you can tell is that when you select them, you don't see that individual outlines just you just see a bomb pick outline, but also in the layer. Spend a little say single step. So as long as you want to keep working with the symbol tools, make sure you keep them a simple set. Once you don't want you individually want to make changes to them, you will have to expand it cold. So you go to object, expand. And then now they are not in a single set anymore. They're they're they're just single group cool. And then once they're expanded, you can't put them back into No, unfortunately, and it doesn't go back. It's just one way. Yeah, that's cool. Just get useful to be aware off. Yeah, so it is still a group, but it's not the special group anymore. It's just a normal bank Group Co. But the items he didn't within the group are still symbols. So that means that if I update the seed even so, if I double click on the seed and let's just say I drag this point out further, yes, if I go back now, I should just simply go back here. It will take a little extra aggressive, Yeah, but yeah, that's another advantage of working with symbols in general that they are all connected to that one definition that you have in the symbols panel. So if you have the that, all of the active instances will update immediately. 20. Day 17 - Design Areas Part 2 (Theory) #321/365: - we will be talking about Brandon as a design, he writes itself. Brandon is a huge topic, and I think a lot of people just assume it's just a local, which is very important, of course on. And this is an example off showing how logos is part friending. But so we are and color palettes the type of coffee that you use on, uh, even copy itself. So find branding is is, and it's a lot more is a lot more big, bigger than people assume, but it's a very important aerial graphic design on the second area is illustration again really broad and it can very from book cover is oh, product design Perils. Teoh. You know, posters can also be both traditional as well as digital. On Duh, tradition can include line oh, or screen printing anything that can you know. Yeah, which I love you can. You can experiment with boys on. Duh. Some amazing illustrators combine traditional with the digital world can create Walsum artwork. Onda. Another area which is popular is packages design, which is a very important you know, what we buy influences our product choices on a very important aspect. Off design itself Both the packaging and the actual the box as well to shape the shape of it. Yeah. Yeah. So yeah. For example, you can see these ones You have to think outside the box for for packaging design. It has to stand out. Yes. I mean, gold isn't it has to, you know, both be user friendly as well as beautifully presented. For sure that is school Seeing some of the a lot off the smaller Mawr kind of boutique brands Ally, Smaller start up companies really used packaging to kind of, like get themselves noticed in such a saturated market. Something, if you think about packaging, is gonna be sat amongst, like, six or seven pro products that are probably going to be quite similar on your whole idea is to kind of like grab the buyers attention. And two should kind of be like me pick me here like these guys. They did that so well, especially this paintbrush files. Like, I feel like tp for the t Exactly when the words plays on that. But again, we've listed some of the skills and Snead is slow for packaging in design as well as illustrator illustrator. More so, you know, useful Softwares to land your funny work on packaging design and some some creatives Onley specializing packaging because it is quite complex and very like specialized. Yeah, I think last month the set that you showed us was more geared towards photo shop or it was predominantly for to show skill based areas. While this month all three are mainly illustrator, especially obviously the illustration where it's like that's the most important. But the same goes for branding. I would say Illustrator is the most important one. So there is obviously like there's a reason why illustrator in, in a Way, as an application from these three became so popular in the last couple of years because there's just so much demand on, like refining and creating them were very beautifully presented products with illustrations and the branding in general. So yeah, the custom the consumers became so a vested and invested in every object that they buy. So so this became so important and crucial, even if I just think back in the nineties off products, especially in Eastern Europe. Back then it was just so bland. Everything looked pretty much the same, boring like, If you look at the shelf shampoos, let's say they look the same. They just wanted to be recognizable that it is shampoo but identity. And it was a message or something like character wasn't there. It was completely like him. And if you look at products now, there's like, it's the complete opposite. Yeah, for sure. They will have personality invest in their story and stuff. Yeah, I guess it has changed the law. People have the money. And plus Plus, we are buying age now. Anyway, We're the consumers. So yeah, for us is these things are so much more important. But even kids actually is important nowadays. A where Everything Yeah, Yeah. And I think I think even in copyrighting we can see that the personality off adverts you can you can immediately get on the good ones where the copyrighting they really paid attention to It makes such a big difference when you can see it's a confident decision on a certain day off, like saying something even in one sentence, you can get that feeling conversion to the to the brand or to the tone of voice that they're speaking in on it. Yeah, it really hooks you into the rest of the message that they're kind of going for so and just wanted the whistle at that. Last month, I mentioned we talked about it that these different areas are all connected with O through the applications that you need to be able to work in these areas. But it's good to specialize in one area. But on the other hand, how our they if you're good at illustrator, you will be. You can easily transition from one area through the other. So Summit someone who is very good at branding can easily end up becoming a packaging designer because they're so close or vice versa. Well, someone was good. Administration will already have very similar skill set to them transition into the packaging designer or branding designer. Yeah, I think Askew mentioned anyone thes three areas work really well together that you it's easy to, uh, taking different projects. You are, if you have understanding or you talked them. It's feel good to specialize. But as we talked about transitioning between these I can see fairly commonly is. But I think you nowadays, a lot of graphic designers are expected to know all these areas. Unfortunately, employers want or your skills for lessons as a you, and it is a fact on having these areas knowing each is good because you can you can improve . But try and just have your special yeah, skill. That's what's cool about the creative industry, as well as being a creative and generous that you might choose to be branding identity designer to start with. And after a few years, you might find yourself naturally drifting towards becoming an illustrator because that's just the way your works developed. So, like go with young, just like and even amongst us. We've all tried different areas. I started out initially, as every touch are than we are working in the graphic design. Now do more illustration the same. You just gradually move and you find your path. 21. Day 18 - Village Illustration (Ai) #322/365: - again . This is just to show that you can start drooling with one simple shape in this case, a rectangle. All of these elements are made up of rectangles. The only item here is this triangle on the top of the church. Would you call that the staple, Steve? But even that started off as a rectangle. So sometimes I would draw a rectangle like this one and then clicking the middle to add in a good point and then remove the other two. So I just finally faster sometimes to work with one tool and just modify it instead off looking for the other tools, like the polygon tool in this case to create a triangle. Andi. But yeah, repetition. We talked about this lost a couple of days before in this topics, and that you talked about it in terms off branding. But in illustration is well, it is so important that having one shape used throughout this simple illustration still has that repetition rhythm and they're very integrated feel so sometimes less is more, and really just using one shape can lead to something very pleasing and connected. Even simple is not necessary shape. But like even the stroke size itself. These owl repetitions? Exactly. It just has to. If you want to do a hand drawn icon, hear it just wouldn't work with Yes, yeah, yeah, that the stroke signs, the colors and also the radius that are used a lot repeating throughout. And that's what makes it work. That makes it. I feel like a very fine order on polished piece of professional design. Mark. Even if we just select, let's see this one and we reduce the stroke size. It starts to look big yet. Yeah, like it's something is not right, although it could also be a decision that can adapt exactly. So, yeah, there's so many things that you can experiment with even with simple shapes like this. 22. Day 19 - Crosshatch (Ai) #323/365: - I wanted to show this because I've been asked a couple of times by my students in car streams as well. How to do cross searching an illustrator in a simple way and the easiest way I came up it waas To use the blend tool with the blend tool, you can create a connection between two simple lines, and in this case, I just going to turn off my clipping muscle. We can see it and also turn off these lines. So all I have here is thes two lines, the one on the top end of honored, the bottom connected with the plan tool. And of one, the line at the bottom can see that is a thicker line. So if I want to increase the stroke size that just go into the line itself, we can see that that one. If I reduced down to one point, or even to maybe half a point size now we don't have a transition is just simply the same line size. It's really hard to look at this, but if I go back, we can have the transition by having one of the lines thicker than the other one and then all I have done here is really, really using a clipping mosque. Keep the lines of reading the creeping mosque and then have my outlines around it and those areas that are reading the clipping mask in that which ends up being the cross. Such I actually used the life paint feature with which I could just feel these areas in and then save it as a separate object. We have the exercise funds available, you can download it and then you can deconstruct it and see exactly what I've done here. 23. Day 19 EXTRA: similarly to the previous one. This is again a very, very important lesson to learn. So, as I said four complex features can you can understand four complex features in this one exercise. Make sure you download the file practice what we're going through, because this will really make you understand these more complex features and connected to each other. Especially so all I have here at the moment is a compound path. All right, so just the outline for this illustration and what I want is to have some indication or which side off the mountain or or this mountain range is in shadow. Because everything that you're drawing will be much more interesting once you start indicating light source and having light and shade also helps to express their form. So the shapes at the moment that just lines. But once we have shading, we will start to see forms. So to be able to get to that, I decided that I want to do something like a cross hatch in this case, and I'm going to do them first horizontally. But you will see that it's easy to change the direction off the cross hatching later on as well. And this is technique that you would do on paper as well with the pencil, something that you would learn if you go to art school that with the cross hatching and shading, you can very quickly create forms defining the shadows. Um, so I decided that I'm going to have the shading here on the left side, so all of these areas within the drawing will have to be filled. Now, to do this, when I'm going to do first is to duplicate this whole compound path. So command C command fo control. See common control fo NPC will do that. And you see, now we have two of them. One of them I will put on another layer. I already prepared these two layers and I'm going to cross look the outlines layer, that's the one on the top. Now I can select the one in the cross, actually, year and then what I'm going to do is to switch to life paint bucket. So this is a tool that once you have something selected, even if those elements are not closing to a compound path is still going to work, it will be able to connect the lines and whatever is an enclosed area. This tool can feel it in with the selected color. Now I'm going to work with red color in this case, or I can use green just so you can see it, or blue whoever and whichever area I click. One is going to fill it in with that selected color you can use. By the way, the left and right arrows to move. Go through the colors in your switches. So when I'm using the arrow keys, it's actually going through the swatches. I'm going to stick to the same color, and I am going to feel these shapes up very quickly. There you go, and already by having it like this, shows you immediately, much more three dimensional shapes or informs. So simply just having one side in shade makes it much more interesting and obviously the blue shaped shade as a quite good color for shadow in general. Um, because what happens, especially if there's something reflective, like snow on mountains. Then in the shade where the sun is not hitting the white off the snow, you will usually get the sky color reflected, and that's why shadows tend to be more blue. So, um, that's just an interesting thing that you can ah, like, observe. If you look at, look at photographs or just simply look at the real life landscapes, you will see that usually shadows tend to be a little bit more blue or whatever the sky color it's so if it's a sunset and it's like very red the sky, then the shadows than to be again more closer to that eso they will be more reddish. So now that we have thes field color, color's in place, we can move one. And the next important thing that will have to do is to expand the life pain group. Okay, because while you are in the life Pain group, you don't actually have access to the field shapes. So all of those feel feel areas that we defined they are not accessible. So what we need to do is to click on expand here on the top. Now, this area you might not see if you are using the latest worsen off illustrator, So this, I think, is under the window menu and it's called control. If I turn it off, you won't see that option there. This is since Creative Cloud 2019. You have to go to the window menu and choose control for them to show up. But once you have them visible, you just have to click on expand here in the middle. So once you do that, what happens is now we have access to all off these field shapes as separate individual objects, and we also still have the compound path, which is our outlines, but that I can even delete now. We don't need that anymore, because remember, we have the outlines on a separate lier now. This is also quite cool, and that's why I like to have it all separately or so. It's so quick and easy to access. I can even turn on a turn off the outlines and see just a field shapes without it, which is quite nice. But that's not the technique that what I wanted to cover, so I keep that on. But what I'm going to do is to select this group off all of these shapes. And by the way, if I wanted to move them around, I could use the arrow keys on the keyboard and that can also create an interesting effect. So this mis aligned effect can also work sometimes, and ah can create interesting results. But that's that's not the technique here. What we are doing is to turn this selection into a compound path. The reason why we are doing that is because we want to use this in the end as a clipping mosque. And because there's several elements year, it will only work as a clipping mosque if it's originally set up as a compound path. Now there's lots of technical terms here, but us exactly what each of these things mean. So Compound Path is a simple time. Use for multiple objects joint together into a special type of group that Innis traitor refers to as a single object or handles it as a single object, even though there are completely independent shapes. So turning off the outline, you can see that there is no connection between these shapes. It's not one outline. It's 12345678 objects and at the moment in the Layers panel, they are separate, even though they are in a group, but they are completely separate. So just as an example. I can select one off these and change their color, and I can select another one again and change that color. All right, so there's no problem doing that because they are independent, even though they are in a group, they are independent objects, and they can have independent a pay appearance. But if we have the whole group selected, okay and we go to the object menu and there we choose create a compound shape which you can find under. I never find this Fisher, because I always use the short got a compound path, make so command or control. Eight is the short cut as well I always use. But yeah, it's here in the menus as well. So having them well selected, choosing this feature notice what happens that they all turn into the same color. So now they lost their independence in a very because Now they merge together in the into the special type of grouping, a grouping that creates much tighter bond between the elements in in in it than a normal group. And why would you ever need to do this? Well, there's a couple of features, like the clipping mask option that I'm going to show you that will only work if you first create a compound path from multiple objects. You can, of course, use a normal object as a clipping path. But multiple objects will only work as a clipping part mosque if first you create a compound path. Okay, so to go back to our example, we have our compound path created from these eight objects. That's why they can't have different colors anymore. But that doesn't matter because it will end up being a mosque anyway, Just a quick reminder. You can still move these objects around if you use the direct selection tool and click on an object. Or maybe even like using section two and just double clicking, you can steal. Select them. I would be able to move them around within the compound path you can. You can just No, you cannot change. The only thing you cannot do is to change their appearance, but you can still tweak independently these objects, but what we want to do is to turn this into a clipping mosque. But before I do that, I am going to also create a blend from two objects through simple objects. One, the world every used also before is the line toe, and you can't go more simple than that. And I'm going to use a black outline and no feel color. So with that, I'm going to draw here horizontal line holding down the shift key. I will make sure it's completely horizontal and then old or option click and drag, creating another line duplicate from this original line. Now pressing the W on the keyboard, I can switch to the blend tool. This is the blimp toe, by the way, here on the toolbar, and with that, I'm going to click first on the top line and then lying at the bottom. Once you do that, you might see a beard result like this, but you have to then double click on the blend toe, so double click on that to be able to see which feature was selected by illustrator. It's like something that happens by the fold, and it says the spacing up to be smooth, which tries to create at a smooth transition between the two endpoints. So that line on the top of the line on the bottom and this is too much for us because obviously we won't be able to see anything. It's like a big black rectangle now. But if I switch on the preview and changed its the specified distance, then we start to see what this feature can do. So instead of me duplicating so many instances off the same line, I can just simply in update the distance between each instances and illustrated will automatically generate and fill up the gaps or the gap between the two objects. So the larger the distance, the less lines it will need to generate or by stressor lowered the distance. The mawr instances we will see as simple as that, but it doesn't stop there because you can do even more creative stuff. If I click OK, I can select the line on the top and I'm using, in this case, the direct selection tool or the line on the bottom. It doesn't matter and increase their stroke size will result in a gradual transition from that line with to the line with that we have at the bottom so similarly to this you can even set the line on the top 20 points and then we get a nice transition, a fade from one point stroke size at the bottom to a completely faded out line on the top. This is really nice. And don't forget, we can always go back to the settings as well. So if we want to make them now a little bit more closer to each other, having the whole thing selected with the Black Arrow, I can still go back double clicking on the blend tool, Turn on preview and then I can reduce the distance between these lines. I'm going to set it to put two points. Click. OK, and now that everything is set up, we can finally create the clipping mosque. So that's two objects here. We have our compound path and we have the plant. We have to change the order off them, so you have to move the blend underneath the shapes so the compound path needs to be on top . The blue shapes in this case and then underneath that we have the plant, so I just swap the order around. This is important because whatever object you want to create as you're clipping mask has all it always needs to be on the top for illustrated and understand what you want to do. Think off them as like cookie cutters. They always coming from the top and you're cutting out the paste. And then that's that's how sleeping most working markets as well. Because if I said like these two groups together, so have compound path and a planned. We can then go to the object when you choose clipping mosque make remember, creating compound path was command a toe control. Eight. This one is also similar. Short cut its command seven or control seven. Once I do that, that's when recede our actual result that I was working on. So the compound path defines the outline off the whole ah shaded area. And within that, so within the clipping mosque we have the blend, creating a transition between those two lines that we set up. The best thing is that everything is still creditable, so we can still continue making changes. But of course, once I turn on my outlines, that's when it starts to look cool. That's when everything comes together. So, having this set up the way I've done it, I can always go back and select any of these elements from the layers panel so I can select the blend, for example, and I can start moving it around, so there's so much things we can do here. As I said, if I want to update this, I can also double click and access the excess, the isolation more, or just simply, go deeper a bit and select specifically either the bottom or the top line. In this case, I'm going to select the line on the bottom, and I just increase the stroke thickness and you see immediately how it changes. But it doesn't stop there because we can even change the color. Let's say we changed the law, the color on the bottom to bloom. And then we said, like the color on the top, Okay. And again from the layer spent all remember clicking on the little circles. So like that. And then we can change the color there to something else like yellow. Let's, let's say, or orange or maybe something maybe more different so we can see it like magenta. And that creates a really nice, like gradual change, not only in the thickness from bottom to top, but also the colors. Now the line on the top might be a little too far out so I can move that down as well. So if I move it down here and change maybe the thickness to 0.25 points, which is almost invisible, then we get a very nice transition from the thicker, more closer lines at the bottom and blue lines to a march thinner, more spaced out magenta lines on the top and off course. It doesn't stop there so you can even have the line on the top said to be dashed line. So if I turn on dash lines, then it starts to create this interesting transition. And, of course, we can play with the dish dashes as well. We can also add different gap sizes, and then you start to have again something that is not dashed at the bottom but becoming dashed on the top. So literally like the possibilities are endless dash lines. I think it's just a bit confusing, so I'm going to remove that instead. Let me show you something else. What if we select the blend, use the rotator and start rotating it? While simple, you will get the agonal lines I would do this on the whole bland itself. Not so. Don't do the rotation, The clipping mosque, Because then obviously won't stay in place where you want the shading to be just simply so , like the blend within your clipping group of clip group and then use the rotate. Oh, of course, In this case, if I wanted to have maybe 45 degrees Ah, anglo, then I might need to go back and select those lines and then just move them further out this run and the other one on the other side until they completely covered the area that we wanted to be shaded. So I can see. Um, I can see that. Ah, ye I can see in the chat that you guys are enjoying this and you find it useful and please let me know if there's any questions. But hopefully this explanation was, like, detailed and in depth enough for this to make sense. Um, and honestly, if you practice this technique and you do it a couple of times, you will have a really good understanding. Working with these more complex features an illustrator and these techniques you can combine in so many different ways. But understanding them will really make you a much more advanced user. Um, because anything that I do would have definitely clipping mosques in it. It would have also compound parts, and I remember before I learned to work with these and struggled so much, and it took me so long to do everything. Once I figured that, forget it out and wrap my head around using these features. It really changed the way I work. And I'm much faster, much more flexible in the way I work, so I can go back and make changes so easily. So it's really These are game changers and the way I went through the steps, starting with a live paint, expending that and turning it into a compound path, then turning that into a clipping mosque with a bland inside. It seems complicated, but practicing this is going to be a very crucial technique, something like a milestone in in the way you are learning illustrator. So make sure you you go through this. That's really why I selected it. I mean, that's the reason why I decided to include it in the 3 65 Siri's, but also I wanted to go in more depth here to make sure that you understand that 24. Day 20 - Slice Tool (Ai) #324/365: - this one is the slice technique. Really? All I've done here Waas to use the typography, outline it and then using the knife to whom I cut it into two. So the knife tool with which you can cut things to the ports of for example, If I said like these elements here and then I switched its a knife tool, I can cut them apart. And immediately you can see that we chop it off the top off these and immense and to make it more dynamic, I use the blob brush and drew over it in the direction off the slice or giving it a sense of movement and just simply move the top orbit further to the left. Just just likely so still legible. But has that most motion that you mentioned as well, simple, with effective technique using the knife to maybe 25. Day 21 - Symmetry (Theory) #325/365: - I really kind of wanted to get across really the idea of, like what symmetry is and why we would use it in design and kind of give you guys some really famous examples where you might see symmetry being used. One thing's air symmetrical. They're very pleasing to look at again. It creates this sense of like something feeling finished and well polished, well considered and also varies, like very familiar and recognizable. Because again, you have that, like repeated side at elements on each side. Eso his that obviously, hopefully you go to recognize the Starbucks. So you again. Red Bull uses repetition on in the in the video. I also give you guys a couple of other famous examples, like the McDonalds arches. So you can really see how in logo designed this is A is a popular technique. Again, this is so memorable. So much detail, this one. Yeah, I think that's what's really interesting about this example is a lot of the time you might think off kind of a reflection of something needing to be quite simple, but I think in this on also in these examples, it's a really good way Teoh, see how actually reflected elements can be extraordinarily complex. Yeah, and actually is really impressive. And that's part of what makes the design so interesting and special, because the more you look at it, the more you realize that this is a direct reflection on there's obviously been a lot of thought and time put into my illustration again. A logo design. This is like a personal. This is much for a much smaller like brand is a personal identity. But there's a few different points of symmetry here as well, which is also interesting. So you have a vertical and horizontal symmetry, so that's pretty cool as well. Call again. You'll see symmetry used in something like packaging as well. You can see if you cut this label straight down the middle is pretty much the same on both sides, which again is kind of like it creates like a rhythm and a sense of consistency and what to expect as a consumer. So, yeah, and then again, there's just like another another example from the same brand. So, yeah, it's a really interesting, creative tool to use. It's not always like relevant. I'm not saying always reflect what you've created on both on both sides of an axes, but it's used in the right way. It could really make an impression and really be memorable for viewer. Yeah, even this one is Ah is a symmetry, but diagonal diagonal symmetry. So, yeah, zits. One of those again, like repetition. Symmetry is one of those tools that you can use in your design. And even in film like vests, Anderson is a very famous director whose one of the key style that you can recognize his work is symmetry, like most of the shots from his films will rely on symmetry. And there is going to be at tutorial this month close to the end of this month. But I'm going to show you exactly how to set up a symmetrical drawing I work in within Illustrator Eso will come back to it very soon. But yes 01 last thing that from your examples I wanted to come back to, is the Starbucks logo that although it seems symmetrical, completely symmetrical, there is actually one little difference on the two sides around the eyes. And there is that I've seen them like an interview with the designer who refresh the brand because it was refreshed Musical five years ago I can't remember. But the they first did it completely symmetrical version eso They thought that all we don't need difference because in the original logo there was a difference on the two sides, but that they thought that we don't actually need that difference there. But if I caught this bit off on, if we can't read off that side, it is going to do a completely symmetrical version. Okay on, then this off that there. So this is This is how it would look if it's completely symmetrical by having that little bit off difference on the right side, it feels more natural. While if we do it again like that, it feels to like a like a statue. Yeah, it doesn't feel like a relatable character does just feel like something you've smushed together that you just did. So it's very strange how that one little difference there makes it more natural. Although it's completely symmetrical that little bit off inconsistency on the two sides makes it more relatable. That's how things are the in nature faces as well as animals. If you just like and I get a lot of fun exercise to do of your own portray. Put it into foot to trip and do what I've just done here. Create reflections on your left and your right side, and the two versions will look completely different. Eyes really funky. My face is very not symmetrical. You would get completely different face. 26. Day 22 - Footnotes & Endnotes (Id) #325/365: - This is actually something that has been around in in designer. The footnotes, eyes feature that we have. I mean, it was available, I think, since he a six or five I can't remember. But recently in Creative Cloud version, now they introduced and North as well. The difference between the two Mani's where the notes show up. So violated footnotes. You will get them showing up on the same page. So, for example, if I go into the second column here and I right, click and say insert footnote, it will end it immediately at the bottom, and I can say, this is my fourth footnote. Now you can set this up, and obviously it's going to put the little number in there. You can set these up, so there's number four, Dad. You can set this up in a way that they will show under the column in veggies. Or you can have a joint column, these options you can find or in the type footnote options. So there you can see the layout, and you can see at the moment I'm using spend footnotes area across columns, meaning that they will be all on the same left side. But if I remove it, then we will see that these two are this column these to that column referencing. But then we can also create and notes same way you select a world right click, choose insert and load, and then it will automatically added at the very end off the document on the last page and I can see something. And then if I wanted to quickly get to the point very these reference from I can just right click and I can say go to and North reference or command shift of control Shift on that immediately jumps to the world that was referenced such a useful technique because, um, again, you can just make changes quickly. No, no, no. And these are all going to be links. If you save an interactive PdF so you could like and notes, If you that doesn't and note it automatically will be clickable on goes to the animal reference. That's really useful. Nice 27. Day 23 - Pinterest (Theory) #327/365: - I think all of us use Pinterest neither for promoting our own work or promoting their blood pose or just Emily finding inspiration. There's a There's a lot of options on. Pinterest is definitely this platform that's taken. It has peaked and, you know everyone uses it for design or for inspiration in general. Yeah, and on this story I just want to show how I tend to search for things on how you can create boards as well as and share with your team. So in this case, you can search for anything. That's what I love about interest it so off today, and you can pretty much such for anything in this game. If I want to search for illustration, it will find so many useful related illustrations. And then you can also filter it based on how specific you want to be in terms off. If I select floral, it will just show all the floor illustration and then you can going to and these are clickable is you can find original source, or you can just say there to your board and follow it. So this is pretty much why I was being just for inspiration I think you can find really good quality work on here. I really like the more like this feature is, well, simply just crawling down immediately. You get them, you can easily get lost. Doesn't just getting in space so much time. It's so addictive on it's cool because it takes you through that you can see here already. We've already cycled through a couple of different styles of illustrations, so you don't find what you're looking for. Straightaway. Look for something like slightly similar Click on that and then you might find something closer to what you looking for. Click on something else again. And there is definitely and you can also obviously follow artists you like. Most creatives would be here, and then you can see what they are pinning a zealous follower, their pin boards. So there so much option. But this is the best way to use for inspiration. Just simply type in here what you want looking for on the used fuel taps. So sometimes, instead off simple pins, you can already go straight to wards, something that someone already collected. We can see that this has 422 pins already on it The good thing about going directly to board sometimes I find is that you might find unique examples that that person individually pinned on, not something that has been circling around on Pinterest because that there's like these images on Pinterest that keeps coming back because everyone is spinning it. But yeah, I like to sometimes go to boards is the saddle pence And then also, another interesting thing that you can do is to actually mean images yourself. So when you instead of going on Pinterest directly and trying to find examples that you can save, you can have this addition to your browser where you can have the little pain. Pinterest icon here on the top is just an extension, so you have to go into the drop down and then choose. I think somewhere here doesn't more tools extensions, and then interest has its own extension, and that means that wherever you are on any side, even say we're here. You can see I can see if this immediately as a pin nice, and then it will remember where it was coming from. So it's a cool way to create, like we talked about last month like mood boards. Yeah, And you couldn't even pull inspiration from outside of Pinterest. I still have a gathered all in one place, which is on I think next month we will talk about how you can use it for marketing on granting your own pins for interest. Nice. Another new feature they introduced on Pinterest, which I like is that you reading boards? You can have sub boards or four others. I think they call them. You can see this. Monsters and villains is for a board within that I created additional categories, which helps me to just really go and narrowed down those those examples that I found. And it's good to know that you can also move things around. So if there is something that maybe connects Teoh what you want to talk about? What? What you want reference? Maybe this one. I want a little bit higher than the others and I can just drag it up. And Pinterest was remembering Nice. Yeah, so very, very useful. Easy way of working around. And you can, of course, select multiple panes. Delete the things you don't want, the Yeah, yeah, and then you can You can share the board with clients or your Yes, just so that everything is your own place and your digital moved. Yeah, exactly. And if you haven't already checked out our Pinterest board or Pinterest channel, it's simply just yes, I'm a designer. Pinterest called a UK Slash. Yes, I'm a designer on. We have loads of boards we keep using these way. Also keep adding new ones. So, yeah, it's worth checking out the show. 28. Day 24 - Blend Type (Ai) #328/365: - I was experimenting with them, trying to find a easiest way off doing this, Um, in Illustrator. So I came up with this technique off again, just working with two simple circles, which you can see here. We have one on the left side and another one here on the right side. And just to show you if I changed color immediately updates because it's connected with a blend option. And the cool thing is that once you have a bland created between two objects, it will automatically have a path between those three elements. This is our party at the bland path I think it's got. We can go in here and your spine. Yet that's the blends pine now the bland spine by default thestreet. But then you can refine that and do whatever you want with it. So in this case, for example, you can see I already edit these additional points inside it. But the very I've done it is by using the tablet, and I was using my hand drawing to draw this text. Now I'm just going to show this very quickly, So if we have a circle and then I just moved this on the other side. That's just movies. Absolutely ever more space. Like so So here on the right side. Let's just change the color off this one. So if we create the bland, it's shift W uh, chief w not know Serena Chief, that will you post a blank tools? Sure, Yeah, W yes, just simply double you click on the left, click on the right, there's our spine that was created. But then, if you use the pencil tool and you start drawing, you will be able to already define a custom spine for your blank. And, of course, if I start drawing into this, it will create that three d effect by just simply going over itself. Creating these little hooks so very simple and easy technique. And you can see how this worked has really cool doing a little hand lettering 29. Day 25 - Document Bleed (Theory) #329/365: - So when you create work it hopefully and see him like a the you're going toe eventually, once it's finished, pronounce could be like a postcard. It could be. Could be to go on a parallel. That could be a poster editorial. Anything you need to think about what's gonna happen to that farm when is being printed. Eso Bleed is refers to a line that runs along the outside of your canvas for along the outside of your page. So here I've set kind of like a fake lead up in in design and in Illustrator so you can see what I mean. Usually the lines aren't quite as noticeable. There are much thinner line physically drawn. These just to give you guys a good example, but so you can see how the inner the inner pink line is your margin on, then the outs of black line is the edge of your canvassing or page, and then the line that extends past that as you bleed and you always want to make sure that your artwork is dragged out to your bleed on. Typically, you wanted to make sure that it's it's not gonna be a detail that you want to be cropped all because your bleed lines dictate where your crop marks are going to go. And that basically means that once you have sent something to be printed on its come out, it's gonna be slightly bigger than the actual size off your art board on your artwork on then the printer or you will cut it down to size, using these little marks that will be dictated by the lead line on your page on on this stops kind of this. This will stop its own ensure that known off the important bits of your design will be cropped off the edge but also stopped you getting any kind of like ugly white borders that you really don't want. That you might know you might not get such a nice finish result if you don't use the bleed because the print or you might accidentally no, they cut too far, right to far left, and you end up with this kind of like, ugly border there. You doesn't look professional, especially if you're going to sell it or you're gonna send it to a client. So you using using bleed marks is really important and typically use them in illustrator and in design. I don't really think it's something good comes into play for the shop is no really set up for print anyway, but in photo shop you can do the bleed in the Pdf settings. So when you're printing, so you have to go to file print and then set it off that. But it's much more complex. I mean more difficult to get than in illustrator or in design. So normally, if you do something in Photoshopped that you want to print, what most designers should do is to then place the final Photoshopped file into in design or illustrator and set it out for print there instead of relying going for the shop to do it. And in the tutorial, it shows you like, briefly and quickly how Teoh set up the bleed in both In design, an illustrator is really simple. In the new document window on, just make sure that typically use a three mil bleed globally. Eso get all the way around the outside of the canvas. You just want a three Mobley. That's quite standard. Before, I would say most projects, Really, yeah, and it is going to be a global setting in both demonstrator and in design. So is going to be for every art board from the woman. If I were to draw new heart boards, you will see the same bleed on them. Three millimeter ble consistently showing any designer as well. All the pages will have the same bleed. Cool, isil. 30. Day 26 - 3D Revolve (Ai) #330/365: - the example that I created here is showing again a three D technique in this case, the three d revolve, a fact which I have on these shapes year. So if I select them on and I go to three D revolved on turn on preview, we can see how it works. So it was actually just half a circle turned around. But then this is the important bit. I went into the map art option where I placed the symbol onto the surface off this shape, and if I move that around, we can see how it's going to update, and it's going to be used almost like a texture on the surface off this object. So using working with symbols connected into a three D revolver fact can create these type off designs. And maybe just one last thing that worth mentioning here is that to make this work, I also added an additional circle above it with a soft, greedy int on it. So if I turn on turn on the field capacity, you would like create a very strong fear color, it's not going to work well, because if I put this behind the shape, it doesn't really feel like it's three d. If I put it in front, then we don't see it. So using a very soft color makes it feel like it could be, like transparent Or I could glass surface. Yes, I could Suggestion of the space that the likes Veer would would hold. Yeah, yeah, cool. So, yeah, it could be a logo. It's gonna be a being a local or part of the packaging design, whatever you want to do with it, but very quick and simple to set up, but can be very effective and non destructive to make changes to all off. The aspect of it is still creditable. That's important. 31. Day 27 - Images in Layouts (Id) #331/365: - I started off with the image being not used with the clipping mask. So I'm just going to go control, shift controlled shift K or command option shift case shortcut for keeping and we can go back to non. So this is how the original photo looks like, and we can also take off the tax rap from it, so there's no interaction at all. So I think I started off with something like that originally. Actually, I think it was. That was the full image. First I cropped it closer and then went into the clipping mosque, which was set up in photo shop in advance to create this version. And then I went into the tax rap to create the interaction between the text and image and the whole point off. This example is that you should feel free in playing around with any photograph that you have for a sprint, and you can make a statement off something. It doesn't have to stay in the books. You can break it out of its books, and you can use it as a much stronger element. And a whole spread immediately comes to life by having by done doing something like this. So if I wanted to, I can steal include the arm, something like that. But now the crop is a little bit weird, so I can include a bit more off the crop like that, someone so forth. So there's there's Ah, in design is brilliant once it's combined with a bit off photo shop masking in this case. But what's the one thing that I mentioned in this tutorial is always. Keep in mind that if you work with the spine, avoid placing images in the center because you will start, especially if it's a thicker, thicker, like book left or book or magazine. You will get the fold and they will. Look, we're in the middle. Yeah, you'll be messing in this example. You would you would only you wouldn't see even the center of his glasses or like most of his mouth, you would actually see maybe that just the two sides of his glasses and it is like you can get quite dramatic, So just really consider it Yes, 32. Day 28 - Wolf Mesh (Ai) #332/365: - I created this mash geometric mesh off on on top off a photograph. So I used that photo as a reference off the wolf and created this final result. But the most interesting thing here is that the whole thing is in a group which is set up the the symmetry, effect or symmetry technique. So if I unloved these elements inside it, we can see that there is the transform effect and the transformer fact has to be on the group on which in which you are going to do the drawing and then you can see that it is using one copy reflected to the side where you need it, so not in this case, we need to reflect it. On the right side is just one copy, reflect X is the one that's doing the actual symmetry and nothing else needs to be changed . So this this is just simply these three options that you need to change and set up and then to be able to continue drawing in symmetry, you need to double click on the group. So you work leading the group and anything you draw after that will automatically be symmetrical. Nice is really cool. It's very simple and easy. Teoh work Nice 40 shop also has a really good symmetry. Now they have covered before. Yeah, yeah, they introduced the them. That one is probably easier to set up. But here, in illustrator of what I like is that it's all part of an effect. So even if I have something that I just want to shift around or maybe make the a little bit bigger because it's it's set up in symmetry is automatically going Teoh apply on both sides and we can see how it changes the character. That's really cool. And if so, if this was part of a bigger illustration, it means that the rest of your canvas isn't going to reflect as well. So if you then wanted to add something that was, like, totally different on the right and left, you just work. No, in this group on, it would mean that it wasn't reflected anymore. So yeah, but you can see how useful it is to have that set up and work automatically, because immediately we can see the result of what we're doing on both sides. 33. Day 28 EXTRA: Now you will see that I have a group here in the layer Spamalot and the group has one very important element in it, and that is the one old way at the bottom. This line now this is not even visible. It's hit a nerve. A. But that line defines the center point, so whatever that line moves, that's going to be the new point that defines the symmetry. So if I move this around, you can see how I can split the two sides and I can see Ahmed joined on the chance. Thanks a lot for letting me know that you're here and the feel free to let me know if you have any questions while I'm going through these techniques. Um, so you can see that I am moving the centre off symmetry on my using my keyboard simply if I move it up and down with the up and down arrows, nothing is happening because it's staying in the same or result opposition. As soon as I am with horizontally, it starts dividing the two sides, so that line is going to be very important because everything based on that is going to be created Now, before I explain further how this works year, I am going to work here on the side, create another outboard shift, always a short got for the art board tool. And then I am going to create also a new layer just so you don't get confused. And then I'll just call this one, Um, example. And I'm going to use the line toe, so just simply click and drag down while holding down the shift key. We can create that line, and I will double click on the layer just to change its color so we can see the little bit better is just the highlight color, but notice that this line and this is the way you should set this up. But by default, I have done it like this or like intentionally. I did it like this. There is no, uh, color on it, so no feel no stroke, nothing. It's just a simple invisible horizontal, a vertical line. So once you have it in place, the next thing you can do is to put it in a group. Now, this might sound weird again because there's just one object. Why do we need a group but you will see why that's important. Later on. So short got for creating a group is command G or controlled G on PC. Once you do that, you was seen the Layers panel that now it became a group. Great. Now next thing that we need to do is to set up the symmetry, and that will do by going into the effect menu. And there we can go into the transform option so affect, distort and transform and then transform one of my favorite effects, an illustrator. It's one off those effects that you can do so much things with as literally like probably the most worst time affect in Illustrator, and that if you've been following along the 3 65 Siri's you've seen so many times, I used this, um, so once you still like that, it gives you this style of books. And then just turning on preview will help you to see what's happening Now. This is at the moment not going to show much, but later on you will see exactly how it works. The most important thing you want to set up is whether it's an, um, flip left to right or right to left or up down direction. So if you want to do a horizontal flip or symmetry, then you choose reflect X. If you want to do vertical symmetries so something that's mirrored from the top down or rice versa, then you would use reflect why capes. Those are the co ordinates that you need to think about so X for horizontal wife of vertical. Let's just stick to acts, and then I am going to set copies to one that's important. Otherwise, you wouldn't see what you're drawing. It would automatically flip one to the other side. You want to keep your original drawing as well, and just see a Jew click it mirrored simultaneously on the other side. That's why you need one copy. And this little thing here at the bottom left is the one that's called the um, was the name off this? I think it's called the Reference Point or Reference. Yeah, I think reference point is the best name for it, that biting for the set to center. But what we need to do is to choose either the right or left side, so notice that I'm not using the corners I'm using the center points and but not completely center on moving right or left. Now, depending which one you choose, left or right, you will be able to draw on one side, and then reflection will appear on the other side. So what I'm going to do at this point, it's so like the left anchor point. So left center, anchor point and I'm going to click. Okay, All right. So remember these settings now, once you set up this on the group and it's important not on the line itself on the whole group, so create a line, group it, and then the whole group is set up with the transformer. Fact. These are three steps that you need to follow. And the way you can tell that it sent up on the group and not on the line is by checking these little circles. Hearing the leader spinal. The group should have a field circle. That report that represents the effect that us signed. But you can also check your a pre Pierre and spinal. If you sell like the line, you shouldn't see the effect. They are just simply empty stroke and feel. But once you select the group by clicking on the Littlefield Circle next week. Then you will be able to see the effect that you ever edit or a sign, which is a transformer fact. Still, we don't see any results. But here comes the most important thing. Once you have everything set set up, you need to double click on this invisible line. So if I double click on it, I enter the isolation. Would an isolation mode means that now we have working within the group? Okay, so and by the way, it means that I won't be able to select anything outside of the group. That's why it's called isolation. But more importantly, if I pick any tool and in this case I'm just going to pick the pencil toe, just set it up so it draws with black outline. If I start drawing with this, you see already that something is happening depending where I draw is going to do different effects or results. But because I chose the left edge in the reference point, if you remember in the effect I have to draw on the right side, so it's always the opposite. If you choose the left reference point you need to draw on the right side and then the mirrored result appears on the left. If I go into, I just delete that line the last one. And if I go back outside, just have to exit the life s or exit e isolation mode. If I go back and select the transformer fact, I can Surely once against this is the reference point. If I switch this through the right side like like Okay, now again, I just have to double click. And once I'm really in here, if I draw on the left side now it is going to work and reflect on to the other side. So just remember whichever side use will decide where you can work now. And a useful thing is that because you are not seeing the center line I like to use, the rulers, Commander are or control are on PC to show them and then dragged from the left side a vertical guide that you can place down exactly where your center point it's now because I don't have the guides visible so I can go into show guides from the view menu. It would see exactly that where it is on that I can always use the commander control semi Cullen shortcut to hide and show guides once their place down. But notice that if I select this line and move it around so that drawing that I created is going to automatically change the other one on the right side. So I can now drew as much as I want and you can see everything is immediately mirrored on the right side. So and this is the set up. And the good thing about this is that this right side is not an actual physical object is just always and reflection alive reflection of what's happening on the left side. So even later on, if I just decided to increase stroke size, for example, that will also update. If I select a move on off these lines around, it will update as well, so you don't have to worry about it. It's always updating simultaneously on both sides, but don't forget that you have to be video in the isolation, but for it to work. So if I double click outside and start moving the whole group around, then always everything is moving, including the guide, because I placed it inside, Um, the whole group as well. That's quite useful. That within illustrator, you can actually place guides inside groups. Um, unlike in for the shop, you don't actually see them in the early years panel here and leaving design as well. You can keep them part off a group, and then even the guide itself can move around. So I highly recommend it to do it that way in this case so we can see that this is the way it's set up. But then off course to make something more interesting with it, you can see the example here. Now I have a guy that I'm just going to hide that because that's not actually anymore. The center off this composition. But if I don't go to this group and I selected by double clicking on it, he will see that whatever I change here. So which ever point I move around. It's going to immediately update on both sides. I can also draw new lines. So if I want to draw another line, maybe here create a triangle, see how quickly it updates on. There you go. Now. One important thing that I wanted to mention is that you should never go beyond the center line. So if I go with a line even let's age somewhere, there immediately messes up my center line because I went beyond it. So it's always checking was the furthest point to the right in this case, because I'm drawing on the left so that invisible line has to be the furthest on the right for this technique to work and to avoid having these gaps in between the two sides. So make sure that you don't go beyond that point, so as long as I stay on the left side, you can see it works fine. So there's no separation off the two sides, and I can select anything with the direct selection tool and move it around, and you can see them operating immediately on both sides. So it's a very quick and easy workflow from here onwards, and yeah, I mean, you don't have to worry about making changes because it automatically updates on both sides , all right. And of course I mean everything that you can think off that you are changing is going to update off course immediately on both sides. So this applies to colors as well. If I pick different colors, it's going to update. I can change that. I make it a bit more scary. Let's make it red or something like that and so on and so forth. Okay, So this is how you work with symmetry in Illustrator and I decided to show you this little in a little bit more detail because there were a couple off the examples used in Siris. But we never really spent time in export like going through it properly. So hopefully this explanation will help you. And, um, it gives you a good guide and something that you can refer back. Doing the future if you ever need to set this up while I find useful, is to have something like what I achieved before I started drawing saved as a template. And then you don't have to worry about setting it up every time. So all you need to do is to follow up me along as I set up that invisible line, put it in a group, set up the transform effect, and then also put a guiding so you can see very red center line is and then save that as a template. By going to the filing, you Jews savers template and then put it somewhere on your computer where you can easily find it Good. A good thing about saving something as a template means that whenever you open it, it automatically opens as an untitled document. Okay, so that means that you want accidentally overwrite it, and it always stays set up the way you saved it originally. Okay, so that is a good time saver. Anything that you use often, it's probably useful to be saved as a template. And this is a very good example for using that feature. You can also set it up as an action, but I find it easier if it's just a simple template like that. 34. Day 29 - Zoom Effect (Ai) #333/365: - So here we have to text or via text objects one in the one that's more visible and the one that is almost lost in the background. But if I switch to the outline of you can see the tax, the hell the two texts doesn't even need to be. Now I think you need to outline them. Well, let me see. No, no, you don't need to have line numbers that that's the whole point. Here they are still eligible text, and you can still use the blend tool to connect. The two might still being indictable. So you put one text object and another one you connect the two to get to each other, and then you can mess around with the proportions and the size that, for example, in this case, if I want to make the smaller, we will get a very different fact committed even smaller or even bigger on already. But we are getting very different results. But the best thing is when I discovered is that if I just look this other textile FNL, I can double click to get to that one, and actually, let me just unlock it If I just use the type tool. There we go. We are now video editing the text, which is in the background, which doesn't even look like text anymore. But it was a short cut for turning hold on the right or left. Yeah, and look at this. If I start doing maybe turning here, it is going Teoh shift the F act, and it really feels like three d. Yeah, that's cool. Spotlight. Yeah. So we can Can can go maybe further to the left. Look at this. The CQ. So is he really feels like you are working in three D simply by just turning these. So if I do another turning their I can move that further and now turning all of them together, Move them around? Yeah. It's a really fun technique that Yeah, I just discover it. Why? Playing around Messing around with this feature. It's wicked. Yeah. Lentil is one of those tools that can be used for so many creative techniques 35. Day 30 - Global Mask (Ai) #334/365: - If you're working the complex illustrations and you want to keep them contained within a certain frame, you would use a clipping mosque for that. But most of the time it is very difficult to set this up and make sure that the clipping mosque is not moving around. Make sure it can be looked completely. The technique that technique explained in the one minute video is that you first start with oil of your assets. Then you create a all of them as separately years. And then you drag all of those lean years into a set up where you already have a clipping mosque. So it's good to know that when you have items within a layer, if I drag them out off this layer, guess see that they can actually become independently years. So in Illustrator a sub layer and the layer is completely transitional, they can become these nana layers, but they can become suddenly years within another layer. So if I drag and drop them in here, let's just move these inside there. Now they're part off that layer in which we have this mosque, and that automatically mosques out the illustration into that shape I called the second Global mosque on, and I think it's definitely one of those features that not many people know how to set up, but highly recommended to try it out. And I think the only way you can set up the mosque is through the drop down. So when you have your rectangle just selected on its own and going through the layer spinal saying, Make Sleeping Mosque, that's what is going to work like this. 36. 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.