365 Days Of Creativity - Month 12 | Martin Perhiniak | Skillshare

365 Days Of Creativity - Month 12

Martin Perhiniak, Design Your Career

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37 Lessons (3h 9m)
    • 1. Welcome

      2:45
    • 2. About the course

      3:21
    • 3. Day 1 - Pin Design (Theory) #335/365

      6:33
    • 4. Day 2 - Reshape Tool (Ai) #336/365

      2:28
    • 5. Day 3 - Illustration Styles (Theory) #337/365

      4:22
    • 6. Day 4 - Dribbble (Theory) #338/365

      5:25
    • 7. Day 5 - Halftone Lines (Ps) #339/365

      5:38
    • 8. Day 6 - Cropping People (Theory) #340/365

      4:17
    • 9. Day 7 - Handlettering (ProCreate) #341/365

      2:36
    • 10. Day 8 - Chilli Illustration (Ai) #342/365

      3:25
    • 11. Day 9 - Quote Within (Ps) #343/365

      2:37
    • 12. Day 10 - Page Anatomy (Id) #344/365

      7:28
    • 13. Day 11 - Stickers (Ai) #345/365

      3:42
    • 14. Day 12 - Tribal Tattoo (Ai) #346/365

      4:57
    • 15. Day 13 - Angles (Theory) #347/365

      6:37
    • 16. Day 14 - Design Trends Part 2 (Theory) #348/365

      5:50
    • 17. Day 15 - Snowflake (Ai) #349/365

      3:58
    • 18. Day 16 - Candle Light (Ai) #350/365

      2:36
    • 19. Day 17 - Flat Shading (Ai) #351/365

      3:02
    • 20. Day 18 - Winter Scene (Ai) #352/365

      2:54
    • 21. Day 18 EXTRA

      20:19
    • 22. Day 19 - Light Effect (Ai) 353/365

      3:36
    • 23. Day 20 - Colour Pairs Part 3 (Theory) #354/365

      8:36
    • 24. Day 21 - Highlighting (Theory) #355/365

      4:44
    • 25. Day 22 - Facial Expressions (Drawing) #356/365

      4:23
    • 26. Day 23 - Paper Deer (Ps) #357/365

      3:06
    • 27. Day 23 EXTRA

      13:47
    • 28. Day 24 - Christmas Pattern (Ai) #358/365

      2:54
    • 29. Day 24 EXTRA

      15:53
    • 30. Day 25 - Neon Lights (Ai) #359/365

      3:26
    • 31. Day 26 - Gift Box (Ai) #360/365

      3:26
    • 32. Day 27 - Design Rules Part 3 (Theory) #361/365

      7:21
    • 33. Day 28 - Drawing on Grid (Ai) #362/365

      3:01
    • 34. Day 29 - Less is More (Ps) #363/365

      3:26
    • 35. Day 30 - Fireworks (Ai) #364/365

      2:09
    • 36. Day 31 - Merge Layers (Ps) #365/365

      3:30
    • 37. Conclusion

      0:42

About This Class

Welcome to Your Biggest Creative challenge!

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

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

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

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

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

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

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

Transcripts

1. Welcome: are you looking for a course that is guaranteed to help you develop your graphic design and illustration skills using Adobe Photo Shop illustrator in design and creative Absa like procreate, a course that gives you creative projects and assignments to work on every single day for an entire year and helps you to build a killer portfolio? Well, look no further. This is the one for you. I am Martin per maniac, certified adobe expert and instructor. Besides working as a professional graphic designer and illustrator for over a decade, I have filled thousands of people in classrooms, webinars, online tutorials, courses, life streams and conferences like that will be Max. Thanks for being truly passionate about both using and teaching design applications. I am proud to say that I was officially voted as one off the top 10 Adobe instructors. Having worked as a designer for clients like Disney, Mattel, Cartoon Network, Nickelodeon and BBC, I have ensured this course will help you start using for the Shope illustrator and in design like a creative professional. This course is perfect for you if you are just starting out or if yourself the wood and aiming to get confident working on graphic design and illustration projects. This is the largest online course on the platform, with over 700 video lessons and creative exercises that will motivate you to study and work on exciting and entertaining projects every day for an entire year. Studying from this course will also help you to accumulate hundreds of designs and illustrations you will be proud to include in your portfolio. If a full year off studying sounds taunting and you prefer to speed up your landing progress, you can easily cover more than one project a day and even skip a few. That doesn't fit your side. This way you can potentially finish discourse within a couple of weeks. It's a unique learning experience that you can adapt to your learning style and lifestyle so you can shape your own path, the words becoming a creative professional. Throughout this course, she will learn from me and two other designers, which ensures you will learn a variety of design administration. Stine's. We have carefully selected each example to make sure you get clear explanations without wasting time, even while we explore complex techniques. Take the next step in your career and roll on this score snail and make today the first day of your 365 days off creativity 2. About the course: through this video, I'm going to walk you through a bit more in detail. How this course is structured each day will have a project. Now, these with yours were very in content. Some off them will be actual technical exercises that you will be able to follow while others might be more theory based. What's common in all of these videos is that they will all start with a one minute introduction. This is just to get you in the mood and to understand what that topic is about. And then the video will move on to the second part where we will be going through the whole process. So it becomes more like a commentary. So you will see us talking through the techniques. What? The theory that we are covering that day, once you watch the video, was you will also be able to download the exercise files. Not all of the videos will have files, only those ones where we are going through creative projects. We recommend that you watch the full video, including the introduction and the commentary, and then download the file. You can follow along and use the same exact file. So you can practice what you've seen in the video if you have time, and if you feel like you want to practice even more, be advised that you also trying out the techniques with your own file. So whether it's an illustration or a photo you took, you can practice the same things that you've learned on those for discourse. It is recommended to have at least a basic understanding off one of the adobe applications . Don't forget to do the creative project at the end of the course. So once you've seen everything, you will find a brief that you can follow along. And based on this, you can work on a more complex project and the final result you can upload, and we will be able to give you a feedback on that so you can improve The very you are working. We have actually 11 other parts off the series so you can find them here on skier share and you can follow the same structure, work through the videos, which you can do daily or even faster if you want. And of course, each of these courses will have a creative project at the end where you can really practice everything that you've learned. This course is based on a YouTube series that we were running for a whole entire year, and we use that Siri's to get feedback from the viewers and see what they think and how each of these projects can be improved. So this course is based on that Siri's. But it's an improved and refined version off that, and obviously we cover a lot more. So while there we were only going through one minute videos. Here you have for each day, the longer extended videos and tutorials, plus including all the exercise files for some off the bays each month we even have extended version videos. So for those more complex techniques, we decided to go into even more death. So I hope this course will be inspiring and you will learn a lot from it. Make sure you go through all the creative projects and assignments to really take the most out of this course. 3. Day 1 - Pin Design (Theory) #335/365: - last month recovered how to use Pinterest. So for inspiration for your design projects to create mood boards. So for this example, I am what I want to show how you can create pins for yourself, but to market your in brand or poured out on. I think these are good. Reference off how you can create good stuff. Good pins that will stand out on one of the main things about Pinterest Way should bear in mind that it's a more mobile app, so best to keep your pins long on vertical. So it's amusing landscape layout, which you can still use, but it's not as popular. No pins are. Pimp Interest likes long pains. I used to 2.2 by three ratio. Andan ideal size is either 600 by 900 more 600 by 12 60 when you're designing just very minor to go beyond 12 60. Well, not to have important information visible as Pinterest cuts are often more devices, so 12 60 is the cut off point below that you can still have. Tuller should have longer wants justice. One. Show it only when someone actually clicks on the table, revealed the details on the ISP attitude, trying to stick to stick to the the sizes. Otherwise, you look so small pins and yet it's just no a visible to harness. And the square format is more instagram, right? So it's still still. You can use it on Pinterest, but it's probably yeah is still Yeah, I think popular pins are usually the long vertical ones where the instagram is more the square one by one ratio and you have a few examples. Thes are some examples off pins that are used for promoting, in particular course or a In this case, this designer has kept. But the layout vertical on has a really strong title on with some images is very clean, very simple, but we can easily tell what she's trying to promote. This is example off a pain, but it's It's a mood on again vertical, very clear big images, which is good for mobile devices on. This is another way how you can market a a block post or any product. Just try and use this off layout where you have the big head are title. Have a nice focal image on, then just use a good hierarchy when placing your elements, Yes. So if you if you want to get people's attention on Pinterest, it's almost similar to a book. Cover means uncover, but them even more simplified version off that because you want just see one thing on its own, but you will see this in a big grip. Eso you want to make sure the type. It's big, especially the title images, also very revealing. And there's a big contrast. Yeah, and the the point of your pin comes across very quickly. Yeah, they people look at it. They understand exactly why it's them what it's saying. Yeah, color. Andi, in general, like the imagery, is very important for pay. Shopping interests like Instagram is very image driven. Yeah, and it's and it's an instant something that people immediately can connect to or just crawl through and see something Another tip before we go to the next one is probably when you're designing for interest, just have a couple of like 23 different variation because it's it will attract a wide rate of audience. You would let alone versions on Pinterest, and then you will see which one takes so you can be very text heavy is just image or just, you know, just makes up a bit. You actually have a few pins that you created here we want I want to test out example how we could use for marketing purposes. So for yes, I'm a designer. I did a block poise about books that you can read forces And you can already see that this one has 1.6 impression. So important extends. Yeah, on three people saved and then two clicks. Andi, we've just done that recently. However, you know, if you have effective, posed or work you want to promote this is a really good marketing method. Nice. Yeah. And you've done the same thing another way, which is much more impressions. This one was click 23 times 39 people saved, but more importantly, 10 times moving through impressions of 7000. So even simple things, this is more effective. Yeah. I mean, this is almost like an A B testing in marketing. It's a very, very common practice which is free here on Pinterest. You don't have to do anything. You just put up multiple pins and see which one takes off and learning from that next time you can promote your content, but it's known that successful ones nice. That's really good that way we started using that recently and way are seeing their growth in our leaders. 4. Day 2 - Reshape Tool (Ai) #336/365: - I'm just going to start off with the deformed, the original file that I used in the editorial. So when you have the pencil selected, all you have to do is to hold on the old or option key and start dragging these edges around with you. Also hold down the shift key. You can keep your handle points parallel to each other, which can create a perfect circular shape. On that way, we can drag it out all the way there, or what I've done in the tutorial wants to drag and set it up like this. So if you drag all of them in, we actually create like an inverted little design, almost like a flower that's really cool. Go. So from a simple circle, we ended up creating that. But then also, it can be used for more complex designs again here. If I use it on, drag this line out, then drag that one the arrogant holding down old and shift together that way. And then immediately we start to see that shape that but yes, so again, using just simply rectangles and ending up having these very nice curved shapes by just simply using one's tool in this case, the reshape tool, you can achieve interesting results very quickly and easily 5. Day 3 - Illustration Styles (Theory) #337/365: - illustration . Styles eso wide and and very that is definitely something we're talking about and worth studying. And also they finding your own style because as an illustrator, if you want to get into this industry, you have to really have, like your own unique, recognizable, style distinguishable style, which people will know you for Onda Off course, you can do different styles as well, but naturally your personality will come through your demonstration. The more you do it, the more refined it will get on. But it's good to have that understanding off what different styles will achieve. Like here. We have completely different illustration styles showing the same thing, and we can see how it effects the final outcome, adding more characteristics to your illustration or texture or keeping it more abstract. Having less colors or more vibrant colors, different types of shading or traditional media illustrations like watercolor again can add different style and different aesthetics to your demonstrations. Yeah, which one is your favorite? I think actually, the little key, like I going on where they have let it was. Money faces my one, I think probably I like the ones with the smiley faces, but I think. Probably this one I like the most. That's really nice. Not the administration vector. Yes, but again, it shows what were drawn to than that. Yeah, and it's really interesting is all because they would. Also, a different kind of design environment like this is very contemporary, very modern. It would weigh design thinking on that's kind of interesting as well, Like where you have, like, I think we probably could have guessed which one we're going to go for. More like at least had a good idea, which so, as a designer, you and as a creative you are tented like do tend to get drawn to a certain style on that kind of is mimicked in your own work. Like exactly you see, that's the best way to develop yourself naturally. Don't think about it. And naturally, drawn to specific colors or textures more like a line weight or you like directors or handle in effect without overthinking there, it will naturally develop a good piece of advice. Yeah, sure. Cool. So, yeah, um I just want to show that these came from sets. So again, when you look at the same industry ater with the uh, multiple versions, but you can still recognize is the same artist. Same style again. From this, we have a whole sat on Duh. Once you develop your own style, it is recognizable. Any works well as a sad eso? If you, for example, are planning to sell stock graphics thing again, having your unique style will help people finding your work and being able to use it throughout there is a larger project. Yes, yes, because it's all connected and it's recognizable. 6. Day 4 - Dribbble (Theory) #338/365: - We wanted to mention another side that we already talked a little bit about and showed you before. If dribble on guys, one off the size that we use a lot, Yes. You know, I think Emily showed before how to use being hands on on this tutorial. I kind of want through how you can used Ripple as well for inspiration. Personally, I think drivel is amazing and you can only get top top quality work. Yeah, for sure, because it's only invitation invitation only members so know anyone. And you know, there is the work that uploaded our form. The really good designers. You can learn a lot from them. So other than, um, choosing and creating pockets as they're calling you can Also, which I love is followed the podcast. When you're working, they usually what they usually do. Interviews with established designers from dribble itself and you can learn a lot on, especially when you are just drawing, are doing or doing them sketching or just just chilling out. It's good to just have these podcasts plane. You can learn a lot from existing artists. Nice one, and they do meet ups as well as I can be on. Uh, yeah, that's. And also one main important thing we want to just show you you is that you can any work uploading dribble automatically lets you download the color palette, which we mentioned on the tutorial. But it's definitely a really good feature, especially on if you need Teoh color on this understanding color. It's a good way to yeah, build up a collection off color libraries. Yeah, I really enjoy using Dribble. I feel like it's one of those very is very easy to consume, a lot of inspiration quite quickly. Everything is very because of the way of the former like this is the main of the project. This is kind of the whole thing, if you know I mean so it's quite quick to like. See that and then click off, find something else you're interested in, and then quickly click on my so you can consume, like quite a lot of content quite quickly. So if you're looking for like a quick like buzz of inspiration, I would definitely go to dribble over be hands, which is more like of an investment in a project. You spend more time, you click on it. And usually it's got quite like a long you read about the project, and you kind of become more invested in it that this is more like Is that visual candy? You know, I mean, it's really quick. I think this is a dribble itself. There want people to just you employed quick shots, The call and they don't expect marches like, I think 404 100 just well, you're working progress. Where's bee hands? It's like the whole presentation. The whole, um, work For what? It's a completely different. So it's good to use, like both of them, when it's relevant for you. Yeah, which is really cool. I love that. I feel like dribble is a lot more popular for you, Rex. On your own administration, where motion and emotion or as being has a different audience. Big 512 Bonus. Yes, this shows Well, cool. Yeah. Administration is also here on dribble, I think is very, very popular. Yes. So yet dribble is brilliant. And if you if you can get an invitation, make sure you do a good intro short. So your first shot should be really good Because people can search for des Buttes or DP. It's decent buttes, and these are all the first shots from these desires. And usually people make make a statement like, Hello, dribble do I've got one recently, and I'm still waiting to do. And I was like, you know, I haven't worked on it. Yeah, but I just don't want employees for the purpose. Yeah, yeah, yeah, that would be personal. Uh, yeah. It is good to whenever you were upload things, whether it be handsome dribble Well, instrument instagram Just don't applauded for the sake of it. You just wait until you are happy with the work. Yep. Yeah. 7. Day 5 - Halftone Lines (Ps) #339/365: - The example that I've done here is a mixture off a couple of different techniques. But most importantly, it is how you can create half tone effects in photo shop, and it's actually a little bit confusing and long winded to get to, because first of all, what you need and for this I'm just going to open another image just so we can get started on that. Let me just find a good image that we can work with. That's just it's hard because these are all and results. Maybe this guy here will be a good one. So if I open up the smart object on then we didn't. This I can show going into the mood. First, you need to go to gray scale. So you have to say you want a grayscale version. I am going to just feel in this would white background and also maybe extend the canvas a bit crop tool. Good. Here, something like that. Okay, so we have a grayscale version, then we go to image more bit. Map first this two stages first you go gray scale. Then you go to dick map and it will ask you to flatten the years is fine, but this is where the half tone method comes in. So you select half tone screen and you choose a resolution, then click OK, and then there's an additional option where you can decide the shape. Unfortunately, there's no preview, so you can only see the end result once you click OK, and you can see that with the current settings. It already created these lines, but they're too thin. It's from a distance. We don't even see them. So it's It takes some time to experiment with this, and then you have to go through the same things again. If we do the frequency, maybe let's say 50. In this case, that's actually there. Only my school s so big map, you have to reduce the frequency. So if you do want frequency, that means one line per inch. Now we'll have much thicker lines. But then again, if we go back and go into a bit, map Andi choose half dome screen, but instead of line reaches round. Then we will have the half tone dots and of AIDS we works out. The details is that wherever there's darker details, you will have thicker blacks, and wherever there's more brightly tells it will have smaller adults. In this case now, you can also make a big difference with deciding on the resolution when you're converting from grayscale to beat me up. So if I do maybe 300 pixels per inch and I do the same settings, you will see already, that again makes a huge difference in terms of how many dots weekend higher the resolution , the more of these circles will appear in the final result. So a good good set up in this case, if I wanted to do the round points, would most likely be maybe 100 and 50. And then let's just try something else, maybe ellipses or crosses even you go again. We have a completely different final result. So, um, this is the technique that I based. I mean, I used for this design, but then I also used the Grady and map on top of it. So we have actually we have a combination off the original image, on top of it set to overlay using the Haft Online's. I assure you that if this is set to normal, that's how it would look on its own, but by overlaying it, it mixes the original image with the halftime. And then the whole thing uses half torn Syria ingredient map, which is set up to this so the brightest details will be Turk wise. And then he goes through these stones, almost creating like a heat map style demonstration. It's really good, really cool, like mysterious tone Teoh. So, yeah, that's a fairly complex technique. But the most crucial technique he really is creating these half tone effects. You would have to first reach the gray scale and then two big my mood. But I normally would keep a separate document with the original image and then merge and combined that the halftime version, together with the original one, like after I leave here. 8. Day 6 - Cropping People (Theory) #340/365: - propping people. Example, which I have a few images that I prepared, and I found this on the block, and I think it's a really good comparison showing the bad crops and the good crops on the same model so we can see the bad crops up here. And then the good crops roughly the same zoom on each of them, um, and you can see the actual rectangles and the results. Most importantly, you want to avoid cropping into the joints, like the hand her shoulders through the elbows on the wrists and the same sneeze. Yeah, so, again, like you don't want to crop things here because it feels really awkward to have a crock. They're always on the same on the feet. You don't want to crop If you are cropping around the legs, you want to crop in between yes, around the coughs or on the gap the size. And then even if you are doing that close crops, you want to keep their eyes closer to the upper thirds, not in the center again. It feels awkward. It is better to crop there or chop the hat top off the head off, then chop the bottom on the chain Missing your changes feels really strange. Yeah, Yeah, like it's not a pleasing image. We're not that peeling while the other one looks really nice. Yeah, for sure. So, yeah, cropping in general is a tricky thing, and it's good to study. But once you understand these basic rules, it's actually going Teoh be fairly self explanatory you and it makes a big difference to your like you say here to your final images and like to the message that people take away from them as well. So yeah, it's definitely something to consider. And like you, especially in in design, using image frames and stuff, it's so easy to crop into an image. It's just good to be aware of these kind of techniques, and you don't extend the end up making like, kind of a company. And then, in the editorial, I also mentioned this faces and ratio, which is which is one of the things that is just easiest to explain that the same image, like in this case as well, can be very different in terms of what the viewer is going to be relating to a what they will be thinking about when you have a full body short. It's more about the physical attributes that will be more relevant and people will be looking at that. So we're not really thinking about the personality we're thinking about, like the generals look. Yeah, Violet video. A very close up off the face. Immediately it becomes more personal, and you're starting to think about more like the character or the person and who she is. Is she smart? And she is she rich? Is she? I don't know. All kinds of different personal traits become war relevant or more visible, so it's against same image. But your crop really can direct the communication and decide what to the viewer is going to be focusing on. 9. Day 7 - Handlettering (ProCreate) #341/365: - have done on this example in procreate, and it's this is the final result. A little hand lettering, Vidin container, in this case, the mug. But the examples that I have here are also quite similar again and lettering combined with a simple outline but still working really nicely together. Also another one there and the I think these a really successful again, as long as you keep in mind all of those things that we talked about, like color pairing again. It's a very nice that, like you showed us this color pairing, I think, last month a dark blue with the orange or yellow really nicely working together than also make sure that the phones or in this case, they are all hand lettered. But still, they have a nice connection between them, so nice to feeling up the shape. Good use off outline Onda repetition. I really like the texture they've added on to this as well gives it like that kind of hand made quality that goes with the hand drawn typefaces. I think we have a tutorial a few months back on adding textures, illustrations as well, so check thou if you want this kind of like texture feel is a final result like this A. Yes, it extends into the underline very and how the this cuts through it. 10. Day 8 - Chilli Illustration (Ai) #342/365: - This ended up being a field shape, but it started off from a path. And this This is just that evolution, which you get very often an illustrator that you start off with a simple life. So, for example, here I just draw a line with the pencil tool and then we add a stroke color to it. Some would just select maybe that store color, the increase, the size and the shift is the with toe, with which we can increase one point there. Or maybe we can have an additional point here. Dragged these back, move this down a bit and already you can start to see the chilling in this. But to be able to work with this, we can continue using the pencil tool and it will remember the with or the profile of this . And we can continue drawing it if they don't like the shape so we can have a much more elongated shape. Maybe go up it up like that. You can't even hold on the altar option. Keep to smooth out online. And don't forget you can use. Or so if we're switching back to the little we can also select on hold on hold key to independently change the point and points if they wanted to. Nice. But what I also done at the end wants to actually expand this. So once you expand the appearance, then your original path is gone. But now you ended up having an outline, which again you can use maybe depends Soto or the smooth too, and refined the edges. That way, you haven't even more control over about exactly. These edges are. And also the exact that the feature that I showed in the tutorial was the path simply fine with which you can get rid off a lot off unnecessary point so we can see that he has a 59 points on now. I ended up having only seven points. So yeah, if I see at the final result, it's really nicely simply find down. Good. Teen up your ankle points. So yeah, I mean, like starting from a path and ending up in a field shape. I think it's a very handy thank me. She will be really hard to do that with the pentacle to start where? Yeah, definitely to get that, like flu in shape. Yeah, 11. Day 9 - Quote Within (Ps) #343/365: - Now we can see exactly the example that recovered here, which was about including text and still seeing a bit off the image. The technique really is simple. All you have to do is to find an image, mask it out, and also use a mosque to cut a detail out where you want to have your copy. Then you place your copy in try to do the sizes and the lines leading and current ing for tracking innovatively feels in that shape the original shape. In this case, I even made sure that it overlaps the image. But you can have it separated a bit if you wanted to like that and then just make sure you use the same image and clip it onto the tax lay here. So that way it will continue the details inside it. Now, if you have a lot of text, it might not be as obvious that the image is continuing, but in the text like this. But if we just type in something like focus or I don't know, what shall we say? Um I think yes, If you just have a simple word, it might be a little bit more visible exactly what's happening here. So the fact that the image is continuing within our text, of course, it's a little bit tricky to fill up this whole space. But all I'm saying is sometimes less tax will show a little bit more exactly what's in your image. Yes, yeah, that's just another one off those combination off your design elements, your typography on the imagery together into one. 12. Day 10 - Page Anatomy (Id) #344/365: - I've actually got the final result compared to the grid I used him on. So we're talking about the anatomy of a page. So in in design, you'll see when you open up and you set up your grid, you'll see a lot of different kind of colored lines in it. To begin with, it looks a little bit confusing. And Andi, you're kind of like, you know, I thought I expected just a blank page. So we talked last month a little bit about the bleed, which is the red line that you just highlighted with us. So that's the That's the line that you want to extend your artwork out, too, because if you're gonna print out your work, you could end up having bits cropped off. Or you could end up with a little bit of extra white space. We did. I did it to tour last month from that. So to understand a little bit more about the bleed mark, check that out. But it's important to set it up if you are gonna work with print. If you're working something that's gonna be set up digitally, I wouldn't worry too much about it because it is a printer's markets. A guide for a printer? Um, say that's pretty handy. Just open up way. Have, Under the documents set up, we have the bleed ocean. So we have the preview on we can see it. That's where you set it up. And you mentioned it before three millimeters like standard yet Uh, yeah, So three millimeters, A good like global setting for most work that you're you do. And I could say Just make sure the artwork extends out, or even beyond your believe market. You want just to be super safe, and then we have the margin. Well, first, when you have your page edge, which you can see literally where the white bits stops as if it's a page on, then within that you have your mark page margins, which you can see that's this pink line on. This is really useful to stop elements. First of all, Teoh to use it as a guide to keep your elements within throughout your design. So So you had a 10 or even like 200 page design. You know, if you use your margin properly and you don't let anything go outside of the margin you've already got a nice, simple structure to start off with. Also, it stops things getting too close to the edge of your pages, which can feel really uncomfortable. So if something is it something, if you intentionally put an element offer page, that's a design decision, and that's different. But say you had a piece of text set and it was only one millimeter right from the edge of the page. That's gonna be really uncomfortable for a viewer that sometimes you could, you know, you might not notice you've done it. But having these pink, this very fluorescent pink guide to remind you is a good It's a good visual indicator of what you need to keep your information inside. What number do you think it's like a good margin? I actually said it toe in design automatically sets. It's a 12.7. I think I am usually said it to 10. A standard a four piece of editorial on. Then when I'm setting up my columns, which is the next bit will probably talk about, I'll set them to five. So it's half of the of the margin. So set the gutter to five mil on but just to quickly go back to what columns actually are on, they help you structure the design that you're gonna end up putting on your page. So here we have a three column grid on. They are a good visual indicator of where you can place information where it's gonna look visually pleasing. So you want you want to work within the two within the column itself on you can spread things across multiple columns and just line them up so you could bread and image across two columns and then a text just across one on. Then you can really start to play with it. But if you use the same amount of columns on each page, you'll naturally see that it will bring rhythm and structure to your work. You don't have to be obsessive about paying the same elements in the same place on every page ISMM or just about knowing that your images we're gonna be roughly the same, you know, ratio and your text is gonna be roughly the same length just to get your viewer to feel like just to help your viewer feel like there's a sense of repetition and assistance, consistency within your work. Yeah, I think the best way of thinking about margins and columns and agreed as well in in these applications is that it's not something that you religiously need to use and follow along the time. But you shouldn't also ignored them, so you should have. You should like strike if healthy, balance between like using them and helping your design to be structured and balance, but also be able to break out of it if you want to do something different. Um, so, yeah, it's it's it's Some designers use it much more. Some designers don't use it. It'll it doesn't mean that they are bad designers. It is just a tool that can help you and guide you to create more aesthetic designs. Yeah, and it is especially helpful that you say to understand it so you can break it. Exactly. The kind of reason is like these a lot off these tools. They're very useful for structuring large amounts of information, but they also can sometimes remove the like. Dynamic natural feeling of your work is good, and it's good. Sometimes within one publication toe have a feeling of a bit of both, so it's it's really about starting to use them and again just finding out what works for you and your workflow like Personally, I probably used them like 70% of the time, and in 30% of the time, I'll kind of be more free. But then other designers use them, like 10% of the time. It's really up to you or just when you're working. Just used the double you to see it without the guys. Personally, I get so confused with that when I have so many columns, Yeah, but he's like I said, Good to use them and it's great for alignment and make sure everything's consistent. But it can be confusing. So try and get into the habit of using W on in design. Just reach back and forth away the show between the normal and the print view. So this would be the normal view on that would be the print preview they call it 13. Day 11 - Stickers (Ai) #345/365: - I showed how to create these outlines making making your ministrations look like they're stickers. The most important technique here is again an effect that you can use and that is the path offset option. So on the effect path offset path. But before you can use this, you will have to use also the Pathfinder. So I'm just going to show this exactly how it worked with one of these designs. Maybe this one here I am going to delete the original element, which I mean, the one that I created behind it. And that's the original icon. Now what you do is you duplicate this first. Then, using the properties panel, you will find a Pathfinder option the unite feature with which you turn the whole selection into one single outline. Then you can already places behind your item using square brackets and the Commander control key. You can move it behind it. It was going to move it slightly to the side so we can see it and then going to the effect menu. We go to path, offset path. Turning on preview. We will see exactly what's happening. This feature increases or decreases the actual object outline so increasing it, maybe 20 pixels will have to create this nice outline that we can just a line back to the object. And immediately we have that sticker style. All you have to do now is to have that same offset parts selected and then used the option on the field color or even just in general in the object, the stylized drop shadow. If I have this turn on, you can already see the shadow behind it. So you know it's a good way. Especially good in horrible D I Y prince stickers, because you can't buy a stick of people using the print, and then you can create your own guys and just cut out if you want to be. Oh, yes, yeah, yeah, this is This is the simple technique. The only thing that you have to pay attention to is your raster affect settings if you're using drop shadows. Obviously, the drop shadow is only if you not for print, but in digital format. Here you got. Just make sure that you're going to the document roster effects settings and increase it up to 300 b p I. Because if you have it on 72 dp i you will have more pixelated shadow created, so I just want to make sure that it's high resolution Nice. 14. Day 12 - Tribal Tattoo (Ai) #346/365: - way have this artwork that I was working on, which made me again relies on the wit store. So here would. All I created was using lines with the pencil tour and vitamin A is good to mention that when I'm using the pencil toe with the mouse, I will use a very high, smooth ratio. So instead of accuracy, I want more like smooth lines. That way, even if I create more rounded shapes like this, it will still create a nice pleasing result. So if I just draw here something, you can see it nicely simplifies itself and they're using the vic stool. You can very quickly turn this into a line like that. Now, if I wanted to. Of course, I can steal refine this further, using smooth to, for example, I can find the endpoint as well deleted. And then the probably the only really unique or interesting element in this design was this line here, which feels like it's in front off the other lines and the way I've done that. As you can see that that line was a field line behind it as well. The trick is to use an additional stroke so in the appearance panel, you can see that we have black and divide stroke. And simply just having the additional stroke outside of it will create the sense off that now the cool thing is and that the reason I had a completely separate tutorial for this is that I want to show this. Make sure that we can see well is that if I have this shape created and then I had another stroke around it, that additional stroke and have a completely different set up so we can have them in the opposite way. So we have the black one and then the might want. But you can see that the white one doesn't have the same with profile as the black one. And if I have the right stroke selected and I use my with tool, I can use a completely different width profile on the two so I can have I can have, as you can see, a much wider starting point here and then shrinking down by the black one is starting the opposite way, CO. So that's exactly what I used here as well, and that's how I managed to get those lines there on the left and the right. Make me look like it's has an empty space. Nice one. Okay, so yeah, again, Just another way off. Using the victory on making designs like this, The final result I created in for the shop to make it look like it's part of this photo. I can just show this very looks. Yeah. Looks really authentic. Doesn't know. I really would have. If you didn't tell me that was very shops. I would have really thought that guy. The key here is these two effects. So without the effects, I mean, it's already looking quite good, but many because I use also a little bit of warping on it. Just follow the neck and the mosque in recent to hide it under the shirt. But then what I used is go Sembler. Because tattoos are never like Chrisman shark, they always have a bit of like skin texture. Yes, And then the actual texture I created with the ed noise option. So when you look at it close enough, you can tell it's just noise. And then the whole thing is set to multiply. Because if you use this in normal, it doesn't look good with multiple multiply or, I think, linear burn. Maybe it just bends in nicely with the design again, it's not 100%. It's Ridic reduced to like 60 or 70% something like that, and then immediately looks much more realistic. It's really cool. So cool. So, yeah, it's like a little combination tutorial here. 15. Day 13 - Angles (Theory) #347/365: - So this was This was a simple kind of piece of theory. Um, really. Usually, when you're working with taxed or when you're creating by here like posters and stuff, you will be asked to use copy Andi use like titles and all of that kind thing on Sometimes , to be able to get motion or to be able Teoh, create a composition which is a little bit more dynamic. You can put things or you can put your text on angles. It's important to remember that, like readability is still something you need to consider. So when you're playing around, it is good to keep it to kind of like 45 90 on like, kind of angles that we're used to seeing in design work. I wouldn't just recommend saying it, like 32 on and making it super treating your hand. Yeah, exactly. People will start to kind of you, like have to work to understand the design, and they will just give up on your message will be communicated. Yeah, so you want to get your design dynamic, but you don't want to make it uncomfortable to to work out what the information is. So this is still is very dynamic. It's very cool, but it's still comfortable to read so I can find everything. Clearly. There's a a very good contrast, vital black. So yeah, it Z really nice example yet on. Do you find them like you find this kind of, like, dynamic, kind of look a lot in posters for, like performing arts, on posters for kind of like or exhibitions or because it's very artistic? It's very expression is kind of like breaking out with breaking out of the box and, you know, in the lack of a better term like eyes, kind of being creative with with text in a way that is kind of out of the norm on, you know, like here. It's used in a slightly more practical way, I would say, but it's still kind of it creates, like, kind of a movement within the composition. Still, which is cool. Also, like the full time table, it kind of just pays with the whole world full of holding. Yeah, Onda, but very important to mention that it still has a very strong structure like it's a great on its own here and then we have also agreed here. So this has a left aligned greed. So it's very structured, even though it feels like a bit chaotic compared to what we would normally think off like and very tradition. Ordinary grip. Yeah, on That's like an important thing to consider is that when you're making designs like this , like the designer won't have just kind of, like, thrown this together. This will have had probably even more like a regularly structured grid because they haven't just kind of, like put it on a page and expected it to work. So when you guys like experimenting with this, like do, like, bear in mind that it take is gonna take a little while for you to get used to working those angles and stuff Don't don't get frustrated if to begin with it doesn't look right. It would take a little while to figure out like a different grid structure. For you, unlike similar hair like this is a much more fluid example, because typefaces air script as well. In a minute, it is more about like being totally free on just kind of like, you know, movement. Exactly. So e. I think probably the bravest one is this one, because here we have a very strong angle. This'll away and it z opposite the direction that I would say is comfortable. And then you have an opposite direction that way. So this cross is brave, but it's steel works, I would say, because there's less information to read this way, probably a little bit more that way. But yeah, it might get a little bit too to for some people. Probably might still already be difficult because you do have to tell quite a lot. I think it causes the tech is no, it's still that much is all right. Yeah, yeah, yeah. No, I agree. I think this one walks the lines off like it pushes the idea of using angles to its extreme . Like if you check out the if you haven't already, like, have a look at the tutorial on I. I actually don't recommend using angles. What? It's quite so harshly. I think this as a piece of design looks really cool and engaging, but then, actually, as a functional poster, potentially, I think there's more strength in this one. Yes, even this, which uses a visual trickery, has still has my structure Yeah, the one last thing. I want that dimension here before me move. One was again, like in this case, apart from the angles. I love the way that this little detail goes behind the photograph while this one is in front. So again, they're very subtle. Hint off. Death just really elevated his design in my eyes. Yeah, I agree. And like the interaction between the text and the image, it just makes it feel like one entire composition. Yeah, even even this, like stop Tex is not beyond the hands official. Yeah, it's really nicely allying together on really good composition. Really? One of my favorite once. This example. Nice. 16. Day 14 - Design Trends Part 2 (Theory) #348/365: - so I'm being. We covered this previously. We will see a lot of bright colors and bold shapes coming in. It's It's a big mixture between the nineties, but with a modern twist, something we will see more of these and lots of bright colors. Think minimalist might be afraid of this trend itself, but not that minimal style is no, you know it's still continuous, but, you know, don't be afraid to use bold colors. That was one of my like predictions. Addiction, I think. And I've seen a lot of designers creating these or compositions in on Pinterest. So yeah, last one on another one, we will probably see is soft, fluid bounding boxes so we won't have, like much solid edges or so rectangles. But instead of a bit more soft, playful edges, I think will be quite popular. Yeah, it's already recognizable now, but it is just keeps getting stronger. Get getting momentum in the moment. Onda again claim out the soft edges. We will see a probably a lof arises like noisy textures or earthy natural texture behinds on Uh, yeah, boy, The illustrations and graphic design I read five grainy textures is really nice I really like. I also Cyrus in the experiment with Texas in my work, and I think it's a good textures can be used as the show in light Shadow, now more sore than before. And he's a really cool style. Yep, another one that we think we we've seen. A rise in is like sliced images, so limbs and body parts slice on, used with illustration would be quite popular. Yeah, these are really cool. Especially like the middle one representation of what's going on in your brain. That's great. Yeah, and I think we've done couple looked tours on these as well. By again, we've seen a lot off a music festival. Posters used Albin covers covers fashion show, so there's a lot off areas it can x you can experiment with these style. Onda Uh, lastly, we will probably see a rise off like thick strokes again on Um, yeah, we have more off these examples. Yeah, so having thick, visible contour lines, an illustration is getting more popular and an icon design in general. When last month we talked about removing contour contour lines, in illustration is a is a conscious decision the same way the opposite. Keeping them in and emphasizing them can be a consistent concert, concert conscious decision on Dad, as we mentioned previously. I think trends There's several stages off trend. Now you can. You can create your trend of yourself, saw something and be brave and bold and create something of your own. Or you can follow trends that you see on sites like Pinterest and B has. But it's all about using trans or style of the right time official on duh. I think that's going to work. But you should also it will do it. I think you can mix and match and add your own element. Twist to it? Yeah, and I think not keeping an eye on, like, loads of different like you can see like people using these thick lines, for example, but in so many different ways and like keeping an eye and like really looking at lots of different work, you'll kind of see it creep into your own work in your own way. Naturally, you won't need to think of it to see a creep in before we just go with the one of the things. Just just what you mentioned now is these dots breaking ups, Strong lines is also like, I can see that being a trend way had that the illustration styles. But I'm when we talked about the CAC Ty, that was also the one that your favorite used at the same exact style. And here a swell breaking up solid lines to make a little dot to short shadows. Well, yeah, if you go back to the fact I, um there's the example. I was talking. Yeah, I've seen this use loads, actually on dribble and stuff, especially for, like, floor and things that, like objects arresting on it. Yeah, it's really it's really cool style, actually. 17. Day 15 - Snowflake (Ai) #349/365: - transformer fact can be used not just single, not just a singular transform effect can be used. But you can also combine to together. And this is the exact example where I'm going to show you how that can work. So all you need to create is a group within the group and each of the groups will have a transform effect on it. So I can turn off these transform effects and we can see what we have at the core. We have this design and the whole snowflake is relying on what we have in here. So that's the core group inside here. Now, if I turn the transform effect on that just simply reflects that design onto the right side . That's the same thing. What have you done in last month with the both had having a symmetrical set up on this. But then this whole design. So this whole group is video, another group. And on that group we have another transformer fact which creates something more similar to the concentric, a fact that we've done also before last month or two months before that where we have multiple copies. In this case, I use five copies. So in total that six instances with 60 degrees angle again you divide 360 by the amount of instances you have, and then you get the angle. So again, that's completely. Even while if I just change, this already starts to mess it up. And the snowflakes are perfectly symmetrical. Normally they have this hexagonal shape. Oh, hexagonal symmetry s. So that's why this works well setting up the 60 degrees and the five copies because it's a crystal formation. So every snowflake is an individual crystal formation, which is all these unique. It's always slightly different. Yeah, if you look at microscopic snowflakes, there's some amazing designs nice in there, but yes, so replicating that overseeing the very simple ways like this. But the best thing about this is that once you have these to transform effects set up and combined together, we can use any off these elements. So if I use the direct selection tool and I said at one point and move it around okay, back home, we can design our snowflake as easily as that. And of course, we can select multiple points. You can start moving it around, and we can even draw additional lines in that if we wanted to and also change options like this. This is how actually the crystal would form. It will start growing and then these would start growing as well. That's how it was. Start spreading. So, yeah, that's a double transformer. Fact in illustrator creating snowflakes. 18. Day 16 - Candle Light (Ai) #350/365: - before I open on my file, I want to show two references off meshes greedy in Ma, she's done really nicely to represent flame or fire, so we see this one as well. Very nice. And then again, another example off a Grady Mesh used to create this very realistic design with this one in the middle of the photo reference. And that's the rector version. But it resembles is so closely so, yeah, I mean again, studying real photographs is very important to understand, because it's hard to imagine all the color variations off a flame without actually seeing it. Once you see it, you can try to replicated Vida, Grady and MASH, and you don't really need that much mesh points, either. So it's not a very complex mash, and stay looks really realistic. So my version is, Ah, this flame. It is not as successful as those examples because I just don't very quickly, but you can again see the same technique used here to create that a final example. One additional thing that I mentioned here is that I use a blur as well, So once the mesh is ready, also use a Gaussian blur and because it's a life fact. This can actually be increased as well. So if we wanted to blow it out to be more, we can do that. Okay, nice glory. So blue and the blend together a bit more. And then that's cool, in fact. 19. Day 17 - Flat Shading (Ai) #351/365: - This is very common in a minimal minimalist illustrations that you would have one side of the illustration brightly of side, more darker. The easiest way I found to do this in Illustrator is the following technique. Simply having the illustration created as an additional object so you can do this multiple ways. But the fastest way I found was to have your object duplicated, merging together with the Pathfinder. Unite option shift. Click on your current color and reduce the intensity over to reduce the brightness of it. So make it darker and then use the eraser to hold on the old key and chopped off half off the element half of the design and then align, eat. Read your current design element and set it Teoh blend more so from the opacity I would use , multiply depending together or overlay on you go as long as it's aligned properly. You were really good before. In fact, this is a stylus. Well, that's kind of like been around for a little while on Still is really popular, especially in very simple illustration icons using Because shading is never going to go out of fashion. Eso using understanding how you can create a really simple but effective shading effect in illustrator on any kind of simple vector illustration and will come in handy because you could use this like this effect quite a lot. You're going to need to worry about it kind of falling out of style or anything. There's always gonna be quite relevant. Yeah, yeah, I highly recommend to test this out. And of course, there's other ways of doing it as well. I just found this one off the fastest way on. It's usually something. If I know that I want to do the flat shading, I just do it at the very end. So first I do the illustration and then I do it as a quick, final step. No. 20. Day 18 - Winter Scene (Ai) #352/365: - The whole concept here was to have, like container, circular container and bidding that using simple shapes to create the scene itself. There's nothing really complex here, apart from the Ellipse being used as a sleeping mosque, and the point that I wanted to make here is in Illustrator, Your clipping mosque can actually have a field and stroke are color as well. So when you see I turn off the creeping once we actually lose the sky and that's frame around it. When I turn it back on, we know only get the clipping months back, but also eat ants, the background color and the stroke, and it doesn't matter where you put your clipping mosque. It will always be at the back so you can see we have it on top of or the other objects. But it's still behind them, so the clipping mask is always automatically behind the others. You don't actually see changing anything by moving up and down, so it's like a background element that creates the clipping effect. Andi, I have just a few examples here in the same style, and they're all of inter themed ministrations. Really nice examples. It's really nice to use circles as containers, they seem to like, create a nice structure for your little illustrations to go in. It's easy to make. You can see here. It's so easy to make a focal point. Your eyes just go straight to it. I like here is or how the clouds kind of coming out of the circle. And it has, like, a little shadow in his own right. And so the composition actually becomes a little bit larger than the circle. But no, I'm great examples. Really nice. Yeah. So you have circle. Conveners are great for all kinds of things where they works really nicely with these little vector landscapes. Aziz. Well, 21. Day 18 EXTRA: now for this one. I just wanted to show you that these were the examples that I had on the side as references . And you can see that this is a really nice style, very simplistic minimalist style illustration style. But it's something that I really like, And I think it works really well. So your resume a little bit further in like that. So, um, we have a nice igloo, were at the bottom. Then we have the ski lift mountains. Then we have more of like an Antarctic style demonstration with C and the icebergs. And then we have another night scene with snowy peaks in the background. So Oh, a very nice illustrations. But they are very simple and they are all framed in a circle. And that's one of the aspects of this project that I was concentrating on. So the way I created this, if I come back here to my design, is that by pressing command while controlled by on the keyboard, it would be able to tell that most of my elements are actually going beyond that circle. So I drew them on DNA not to be closed into that circle, but they can be moved around easily now. This is important because when I select any off these elements, let's say this shape here, I can still move it around and you see it's still going to have access details that are visible. So when I move around, I can set it up in any place without affecting the edge. I mean, without having a clear edge that you can see when I hope it over these details. It's the same applies here of these rectangles. I can move them around freely without having issues around the edge. It's okay, so the very high normally start that project or an illustration like this, and I'm just going to make this slightly smaller on both live here to the side. So the way I normally start something like this illustration here is that I would create my circle. Okay, And let's just pick the same background color as we have that blue color, which is the sky, and then shift these the shortcut. If you press it twice, so shift the is what's going to set up the circle as a clipping mosque. It's the fastest way to create a clipping mask. I find administrator because this will keep the color blue as well. So it won't lose the color because normally when you create a clipping mask whatever object you set up a za clipping mask, it automatically turns into a transparent, invisible shape via this feature called Row Inside is going to keep it still with whatever color you chokes, so press shift day twice. Then you reach the draw inside mode. But it's important that you can only do this if you select circle to make sure it's selected. Then press shifty twice, and once you see the little dash lines off the corners, that's when you know that you are in the drawer inside more. Now if I start drawing anything now, so if I just let's a draw a rectangle and that stole the water and said this to a darker shade off blue, you see immediately that this is actually enclosed or captured leading the circle. Okay, simple as that. Now let's draw the mountains. Okay, so for that I am actually going to use the That's just use. I'm going to use the polygon tool, start drawing and there, hold down the down arrow, and then the shift key that's created to try and go. I'm going to draw it here just so you can see that this is also reading the circle. So we're still in the same doing side mode. That's why it's not going to be visible outside as soon as I move it in here and maybe squeeze it down a bit, then it looks better. Now again, I'm going to shift, click on the field color and make it even darker. So that can be the shade or the darker side. All the mountain. Yeah, something like that. But then, if I want to drove it in this shape, I can also press shift W twice. And then the same thing will happen before with Circle. We work here as well. So now if I use, let's say the penetrable on a zoom a little bit closer, you will see that once I start doing now, I actually do within this shape here. So if I dro big shape line this and I set a feel color for it, making it brighter, Andi, even brighter than that. That's just pick and very bright color. Something like this. Then you can see that the same thing is happening that I created for the circle, but now it's actually created a clipping mosque for the triangle, so you can only have one clipping mosque active at the time, which means that if I start moving around this shape, that white shape that they just created, it would stay within that triangle. But if I want to move the whole thing around, you can see that can be moved around within the triangle. But if I want to move this whole triangle around, it's going to be not possible because it's here in this more than draw inside moat. So at this point, it's already good to have a look at the layers panel. So I'm going to close this panel here on also minimize this one. So the most important thing here is how it's actually built. Now I'm going to hide this other clipping group for now. Actually, we can keep it open that, but what's important is to see what's happening here. So we have a clip group on the top of the layers panel, and from that this circle is the clipping mosque. The way I can tell it is because it has an underline on the name. So on the line in the layers panel on on the name of an object means that it is a mosque. If I go into this other clip group again, the polygon, which is the triangle, is also underlined, which means that's also another clipping mosque. So we have to clipping mosques already within this composition. Now the only disadvantage off the draw inside mode is that it can be a little bit restricting sometimes. So if I press shift the again, I exit the clipping mask more. And if I were to draw anything else, let's say I'm want to draw the moon now if I doe the moon and I picked that color that we have here on the left side. Actually, it's the light and just going to use yellow for now. You see this by default didn't go into any off the groups because we have nothing. The drawing side more and the good thing is using the layers panel. You can always put these in their place, So if I want this to be inside the clipping group, I could just drag and drop it in there and this puts it into the main clipping group, which is our circle. If I wanted to for some reason to show this only within the triangle or pointing on, I can also put it deeper into the second clipping group. So now it's only will be visible within that triangle, and even within that, if I move it further down, I can decide to have it behind that shape or in front of all in front of that shape. So it really depends where you place your elements within the clipping hierarchy. So if I move it all the way back up here, I can still move it around. But it's their going to be enclosed within this circle. Now what if you want to go back into the drawer inside, move So I'm just going to delete this shape, and I'm going to select that circle that we used as the clipping mosque. If I press shift the now twice again and I draw a shape and set this into a different color , you see it works the same way. So either using the layers panel on moving things around or having always the right object selected using the same short, catchy If the twice will get you back toe whichever more you want. So it's not going to create another clipping mask. It just remembers to use whatever object you. Whatever have set up is a clipping mosque. It's fairly simple and straightforward, but let's just practice this a little bit more. I'm going. Teoh, create the trees. I'm going to set the moon here on the side, something like that. And then let's draw the trees. So I'm going to just draw quickly the shape here under your cool Okay, that sample dark color used, and you see already that this is a clipping mosque automatically. So if I select that whole shape I can with around, by the way, I'm using the direct selection to most of the time, especially when you work in clipping mosques and click inside the shape, and then you can use the arrow keys on the keyboard to move this around. We can also create a quick duplicate of it by using the reflect to take anywhere inside, roughly in the center and an old click and drag to the other side. Something like that. And then let's just make it a bit smaller down on may be this again here up. The reason I'm using the direct selection tool is because if you use the selection tour and click on any of any of the objects, the whole creeping group will be selected. So that's why I direct selection toe clicking on the center of a shape and then using the arrow keys on the keyboard or dragging these around will help you to find that shape or design that you're looking for. So the cool thing about tipping mosques is that they can always be adjusted. Like even though I mean the draw inside mood for circle. I can use my direct selection tool, and I can steal at just this other shape within that triangle, which is another clipping mask. But if I want to get back to drawing reading that shape, all I have to do issues the direct selection tool or use the layer spent almost find. That's what I would do with select that clipping group and then press shift. The until I get that selected, it's actually the mosque that you need to select from the Layers panel, and it's important that you need to make sure you cook on the little circle next to the mosque. So not that not on the name off the shape that is a mosque, but the little circle next to it. So find the underlined object name, which is the mosque, the clipping mosque. Click on the little circle next to it. That means it's I liked it. And then if you use shifty twice, you will be able to get back into the draw inside mood when you see the little Danish lines around that shape. So if I zoom a bit closer, you will see that five words to draw anything here, just draw something quickly. Set a different color for it, you see automatically was added inside that clipping mosque. And it's good because this is actually showing here in the layers panel as well, which means that I can always move it out if I want and put it into the main keeping loss, which means it won't go outside here. So if I put it somewhere there, you see, it's still captivity in the keeping mosque. And if I wanted to have this coming out completely or I have to do is just a drag it outside in the layers panel, long as it's not in the clipping group, it will be free to go anywhere in your illustration, And that's one of the things that you can do. And I wanted to mention that when you work in these closed designs having a framing device , we call it in design. When you work in these styles off design, it's sometimes good to break out off the boundaries. So either a tree in the background, one off the mountains, or even like a cloud can go beyond the edges to break out off the boundary can make an interesting effect, or maybe birds flying out of it. So out of bound fact is always interesting. It creates more depth in your illustration, so it doesn't feel us flat. It will feel more integrated with whatever else is on the page or site, whatever in a graphic is going to be used off. So that's what I wanted to show about. This design, hopefully was useful and always it's not as detailed as the original, but that's how it works. And by the way, you want to do reflection. That's just one last thing. I want to show you quickly. I would select that mountain in this case, Use the reflect tool before click on the bottom edge, start dragging it. Hold on the old and chief shift keys together, so alter, option and shift that creates the duplicate. You can then have the selective and just reduce the opacity on. You. Have a nice reflection. That's how quick and easy its. But it's not going to update with the original design. So there's another way of doing this. If I say, like this design deleted in a celebrated shape again, you can actually set up at transform effect as well, so that you do by going to the effect my new and then go into the store. Transform, transform options. Turn on preview here is useful. Turn on copies to one and select the bottom edge off the reference point. So bottom sent the point. Then Jews reflect why, when you see immediately was going to happen there. Now the only problem is that the center point off this object is going to be whatever is video, the clipping mosque and because within the clipping mosque we have that shape going for now , it's not looking good at this point, but we can compensate for that by using the move vertical option and just drag it up until it's aligned so we can just use up and down arrows. Drank it up to something like that. Now, if I click OK, you will see that this is reasonable here. So if I have this shape selected, it's not actually visible in the layers panel. When you use the transform a fact to create an japonica, it's not going to visible. They're visible that, but it will show up in the appearance panel as an effect which can turn on and off now. What you can also do is to double click on this and make amends stripped, so that's also very useful. The only problem is that it's a bit tricky. Do effect its visibility because if I click on the capacity and start reducing it, it will affect both the object and the transform effect with the mirror version off the object at the same time. So the contents and the effect changing together visibility is updated together by using the capacity option here. That's a disadvantage. But of course you can always get off work around this by adding another object on top off the reflection. I'm not sure whether we can actually do anything else. It's not like a smart filtering for to show, because there you would be able to change the blending off the filter. And with that reduced the visibility off the instance or the reflection here, we can just simply Togo the visibility and turn it on enough. There's no quick and easy way to do that. So just to show you what I meant when I said, you can always cover it up. You can put this shape above the reflection or above the object completely. So there's the water, the shape of the water that I created, and what I would do is to reduce the capacity off. This because by that, by doing that, who will cover up the reflection off the mountain simply by just using the water? And it's going to blend the two colors automatically together, so it's not that complicated. You just have to think about how you set up your layers. But the reason why doing the transform effect might be interesting is because now, if I make any changes, even to simple beetles like this Here. Notice how it's updating both on the top and in the reflection. So when I when I create an illustration like this, I really think about what am I going to do with this? And hell, I might be changing details in this later on. So when I select any details, you can see how immediately affecting both sides is really cool, because I won't have to go back and make changes. So it's like a completely non destructive workflow that I can go back and make a man's, and I can even move the whole shape around. They find, select the clipping group. I can move it to the right. I can move it to the left, and the reflection is moving together with the object. So that is quite neat on, and in order to have this moon shape may be behind the mountain. I can also drag that underneath the object, but it will need to be above the background color. So if I just move this here, that's it. That's the right place for you. Okay, so there we have that on golf course. We would be able to use the same transform effect on the moon as well. So if I wanted to have that effect, I said, like the moon shape go up to the effect menu and I can just choose apply transform, which is going to remember the last few setting. So when I turn it on, it's already there. But in this case, I wanted to go a little bit further down. So I'm just going to use a longer vertical transition so it's actually need to go further bound. Something like that. Click OK, and that's also now set up in symmetry. Of course you can also at the same shape into the same clipping group if you wanted to and have all of these set up as one reflection. But I quite like to keep them separate because that just gives me a little bit more excess and easier access to work with them. So just so you can see now, these both set up with the reflection 22. Day 19 - Light Effect (Ai) 353/365: - This is a very simple technique, again using ingredient. And the key is here that the Grady and itself is not a color. But if I open up my greedy and panel, we will see it, or even the great Deion Tool we can see when I hover over it. It's actually just pure white, but using overly blank. So if I said this to normal, bland more it you can see the vie color in it. But as soon as it's set to overlay, it blends nicely with whatever is in the background. So if we change the background color in this case, I'm just selling the background changed field to something else. You see how nicely immediately updates and blends with the background and the great and itself. Just coming back to it again is a simple to stop radiant. So we have the full capacity white, and then the other end has a zero opacity, right? So that's 10 opacity. And then you can control also the spread so you can drag the midpoint further out if you want the light to be stronger, and then if you drink this further to the closer to the screen, and it reduces the intensity off the life. You want to be a love the father, Grady, into design. Yeah, exactly. Very similar to that. So, yeah, that's a very simple light effect. And you can, of course, use it in all kinds of different shapes. Here. I just used rectangles, but you can use it on ellipses. And, of course, you can select the points here at the end with the direct selection tool, and you can create your own custom like spotlight type of effect as well. Yes, if it was a spotlight, or you could even around the corners off if you wanted to use it for, like, a mobile device. Yeah. Yeah, exactly. So quick and easy. All right. Um, and just in general, these simple effects really nicely ties together the whole composition. So if we delete them, if I just turn off the lights, Yeah, if listed, looks good. But it just lacks that flare that the lights adding to it. So, yeah, that's what gives it more atmosphere and sense off. I don't know, like, really za. Yeah. I'm feeling like a finished product and something that's been really considered it. It's similar to the way that there's like a very subtle reflection on the laptops that you can see that makes it feel like they're on a surface, not just floating. Adding these small little details gives you like a rials A style is another straight yeah. 23. Day 20 - Colour Pairs Part 3 (Theory) #354/365: - as I mentioned in the last two months, color is important in graphic design, and for this session I put in a few color variations that I really like, and I think they really work well together. These ones are blue tones, really and blue and purple, but they're very similar, but it just shows how you can, how well it works together. So I love the bright, vibrant blue, whereas the lilac or law, it's still blue but very low. Low tent. There's a little bit already need very sort of red in it, but it works really well. Is a good background. Carla. You can see your the artist used as a background image on the main focal color, whereas the blue is used in minimal stops here. Coolness. Andi either gain another purple and blue team, but it's a bit more vibrant, and I think these combination work really well together, especially when you're creating radiance. It's nice to see them you so differently as well. Like these two examples are so different. But we were so the more traditional watercolor next to more digital three D Grady EMS, the usual red and green. Our Christmas beam color. It's traditional, traditionally youth. Still, these used Andi. I think it's all those colors that we all associate towards like Christmas. Yet I like the way that you show these two examples on the left. We have the red as the dominant color and green as the supplementary color. While it's the opposite, the intensity on the right, where it becomes the highlight and green is the more primary color and the even. Though it's a similar color theme and color pairing, it still has a different life to it. Yeah, sure, and it works both ways as well. Which is can be difficult, can be tricky with color. Sometimes something really won't work as just a highlight or as a main source of color like but with this color combination, there works both ways beautifully, which is a cool thing to highlight. Yes, definitely. I also chose a green on green again, which I tried to show how you can use a vibrant green color with the very dark tone as well on both work really well together, and it creates the whole shadow and light defend on these one of my favorite color tones to use for like nature. I don't know. Floral illustration? Yeah, andan other one is the purple on the blue tone again. It's a bit more passed early, but it creates a soft feeling. Yeah, somewhere Weeks feels like more like lilac and turquoise. But even my gay again pastoral words, which is also popular no bright colors will see more of them. But pastorally still in, and you can still apply to your work. Yeah, and again it's about like making sure that the color choices you're using and relevant to the work you're making. So even though like bright, bold colors are trending, it's still important. If you're creating a relaxing, design, relaxing, say application, that's about like, kind of like, you know, headspace and being calm. You're gonna want to jam it full of really bright, vibrant colors. So even though things are trending, it doesn't mean that always the right decision. Sometimes off the options are better, and you last two months you showed us a couple of websites, but I think there's another website you wanted to mention. Yeah, I just by finding colors. So I lost a couple of the last few months you mentioned Pick a color, which you can Such Picula Picula. Sorry, you can type in when you want toe search for, and then they find similar color turn color hunt again. It's a artist that puts up color trends every color palace every week or sorry, Andi. It's a good way to be inspired and find out what color works well together. On the one that I also uses design seed again you can. She has a color collections and themes that you can solve, choose and use it. Basic assumption is palates as well. She's good for soft color palettes, whereas a color hunt is quite vibrant. I like the vein as a reference image as well, so you can imagine how it works and what tone you can set like. This one is very rudimentary and cold, and if you have a amaze yourself on, you want to get the color from the image. You can also use adobe color, which we mentioned before you can create your own colors. Please don't import your image, and then you will automatically find a color for you. Yeah, like this one. We will find the colors based on that, and we can even refine which color we want to use. Also, I wanted to mention that when you're looking for inspiration and what color pass would work best, Where you can also do is if you go to dribble, which we told about this month on. Let's say we go to popular shots which are currently trending illustrations or just in general designs. We said that there are the colors that we can find here, but what we can also do is to find similar designs based on the colors. So if I like a color like this one, if we click on it, dribble will use that color and look for all the other different designs with that color. And we can even go go here and pick a different color. Let's say I'm thinking whether this color would look better for my illustration. Then you can have a a sense off like okay, what all the artists are using that color for and how it looks. Or again. If I go to inter instead of latest, we go to popular. Then we see the better designs with this color on a good way to see yeah, exactly. That is good way to see the color in context of a of a piece of work has already been created. So you could save yourself a lot of time. Really? Because if you think Oh, actually, this is This is cool, but not for May. Yeah, just such again. And you even have, like, a trash hole at the bottom. That if you can, If you want the color to be very dominant in the design, maybe you can increase this value. If I say color minimum 70% then it will be much more stronger. Violet free going to color minimum 10%. Then it won't need to have so much off that color. So it will be less primary, but still present in the designs. So yeah, it is really smart. Yeah. Evade searches. That's nice. That's very coolly going. Really subtle animations. All right, Cool. 24. Day 21 - Highlighting (Theory) #355/365: - thing is another, like piece of theory, and it's really just about drawing attention to certain elements within designs. There's no two ways you can do it in the tutorial. I kind of talked about like changing color, using underlining, using colors behind text etcetera on really is. It's just important to keep in mind when you're creating complex compositions that different pieces of information. We need to jump off the page in different kind of ways. Like here. I have a few examples where there's like there's quite a lot of information going on on. The designers decided to highlight certain different parts of the composition. And so I think probably starting with this one is probably the most, um, kind of user friendly example. I suppose you could say like the the rest of them I've chosen mainly because I think they're in use. Highlighting is an interesting design device. Where is this one? Uses it very practically toe point. Our important piece of information that is, I like you have the title, which has been highlighted by the banner and obvious, isn't in your face. Yeah, exactly. And then the structure of the information again is again we have a repeat of a banner for the other very important pieces of information. And then the size of the textile changes quite a lot on the colors of text or change. Quail on this brings a structure to the design. That means that you could have navigated in the right way. And just because we talked about this month about angles, that was the only angle. The detail in here is the title and the date, which is the two most important important. That's so that even though the rest of the design is not following that, it still works because that works as a highlight design. Exactly. Yes, sure on again, another kind of practical application, all those slightly verging on being more of like a desire physical design decision. It's kind of here. So in this piece of editorial, you kind of got the like the larger text on the left hand side, which kind of lays over the body copy and this highlight of pieces of information around the edges. Well, like I believe, it's an interview. So the parts the questions are kind of in highlight, and the answers are in regular body copy So it's again. It's about like finding a way to just create different levels of information or like bringing attention to different kinds of information. Um, like this is quite cool is actually a repeat of the same piece of information, but just displayed in different ways. So highlighting here has actually been used to just draw attention to the fact that it's all quite similar. But it's just used is an interesting design device. And then here I I quite like this example because this is this isn't necessarily highlighting in a traditional sense of our. Instead, it's kind of it does quite cleverly use something those fades into the background against something that is very prominent and very easy to spot in the design. And then when you read into a bit MAWR, you realize is actually really clever, which is another clever way of kind of highlighting or hiding pieces of information as a designer to consider. Yeah, that's a very important lesson to learn how to hide, like what I like how to set up the hierarchy in your compositions. That's great 25. Day 22 - Facial Expressions (Drawing) #356/365: - way have the final result here off the facial expressions and how the same face. Just changing a couple of things around will immediately change the expression. And the reason that I have done this is mainly to show that even if you keep the outline off the head the same and generally the news doesn't move at all. And the years simply playing with the eyes, eyebrows and the mouth. You can do all the whole range of expressions from sad too angry, too scared, happy. But there's some really good examples I wanted to also show you. So this was the one that I've done in my tutorial. But I found thes examples also online and against same guy. But here here the tutorial explains a bit more exactly what is happening, and we have a bit more like subtle transitions between like, let's say, we have the happiness combined with surprise or happiness combined with anger. Yeah, so you can see the same mouth used. But then changing just the eyebrows will have the difference between an angry, happy on and as surprised, happy or the same thing. Here we have a disgust mild, and then we have it intensified by opening up the mouth and pulling up the news even more so, it just intensifying the expression even more an exaggeration is a very important thing. In illustration before, for four facial expressions, it is again a very useful technique. So if you want something to be really obvious just over f emphasize these movements off the facial features again here on the right side. Interesting combination off being surprised and fearful or being surprised End disgusted s so you can see how the mouth changes to completely different looks. Yeah, for sure. Um, really, really interesting how you can think about, like, separating the eyebrow and the mouth and combining them. You can have these more complex emotions created. I love how they've given, like, little descriptions. Yeah, I was really saying this is how you feel if you were given free puppies and this is how you'd feel if a bully Ted up your sketchbooks. Yeah, it is good. And then we have also a few just like sketches of different emotions on looks. And then we also have an even more simply find abstract version of it. But again, lots of different emotions once again the nose and the ears and the outline is the same. It's just the eyes, mouth and eyebrows that's you communicate the expression. So, yeah, it's a very important thing to learn. In illustration, especially for character illustration to work, it expressions Onda by the body language. In general, it will really communicating, or the personality that you want Teoh have in your character. 26. Day 23 - Paper Deer (Ps) #357/365: - so I wanted to create, in effect where you feel like, um, this silhouette has been caught out from the background and being just just at the moment being lifted up. So I thought, it is easier to do this in for the shock because here I could use the warp off Shanda. So I turned this same design into a smart object, and I created that have worked on it to create that. But also I use facts on it. So including first of all color overlay, then an inner glow, which just creates a very subtle outline around the edges. If I turned it on and off, just barely visible but combined with the Grady and overly, it's even more visible now, So that's the one that creates an edge and sense off death. It's just very subtle, but that's needed for it to feel like it's being caught out from something. And ingredient overlay is the one that creates that sense off bent affect because we feel like the light is coming from here. But then this is over hanging, so it's not getting a direct light anymore on. Then, in the direction off the light, I have also that shadow created behind which is that one there. And I used again distortion on it, and I also used and go see Ambler Effect. So the further of a gats using that mosque we have, he had. The further they get, the more blurred it is going to be. And as but not least in the detail where we have to cut out, coming out from that has an inner shadow again. Another earlier style makes much difference. So if we turn off all of these effects, we will get a very plain. But still it's still working as long as you have the right colors, but not as realistic as having all of the's effects back on. Definitely. Okay, So, yeah, that's working with layer styles and the bigger free transforming for the show. 27. Day 23 EXTRA: so you can see that this one here I used a couple of effects on on it, but I'm going to delete that for now. We'll just hide it, and I will also hide the shadow. And I will start with this shape that we have here and see this one also has an effect on it already. Which is the inner shadow, A friend. That's the one that creates this nice depth, very subtle effect. But if it works nicely for this design and I am going to use the same shapes, I just duplicate this and create a second version of it, which I am going to reset. So I will clearly earlier styles from it. And I'm going to change the color by using color overlay and said the color up with the same that same as the background color, maybe slightly brighter just so we can see why we're working with it. Okay, so we have to shape so you can see it's almost as if this was create caught out from that shape behind it. Now what I want to do differently from the original design, so I want to make it look like this is peeled up from the paper or from the surface off this breath canvas. It's been peeled up like a sticker, So if you cut it out and you are peeling it out instead of having it completely come out like the original one here, I mean this this this deter here wasn't really stick enough. So that's see if we can do a better job this time because it's a smart object. It's already set up a smart object. I can use the free transform tool, and I can use all the different techniques on top on on this as long as I turn it into a second smart object. And this is a little bit annoying because it's a vector object. Originally a factor shape that I brought in from Illustrator. It becomes a vector smart object. But for it to be able to distort it around with all the different settings in for the shock , it needs to be turning to another smart object. And that's the main reason I wanted to show this example. So, you see, when I go into the transform options, it actually doesn't allow me to use the store perspective warped and a couple of other things are not available either. So before I use the color overly going to get rid off that I just have a blank, like like, as as it is at the moment, I'm going to right click and convert this into another smart object. So by doing that, I don't actually see anything. I'm just renaming this Teoh paper forward. But what happens now if I can put the color overlay back on it? What happens now is that if I use the free transform tool, things like the war portion is already available. But I can show it here as well that we have allowed the different features available Will let you would normally have info to show its including the store warp skew and so on so forth. So why isn't importa while it's important, because now we can use the warp feature, okay. And with the warp feature, we can start distorting this so we can create that distortion that we, uh, needed Okay, so that helps to create the illusion that this being drag and bent from that surface that we created Okay, something like that, for now, I think is fine. maybe we can hold down shifter on, dragging down bed or up. Okay, something like that on, by the way, that shape in the background. We can also add the bit off perspective on it. If you use the command key, the control key, and drag it out. So it feels more like like it has a bit of perspective now, completely flat. But what I wanted to achieve with this design is that I want to have the legs bent into the shape. Now for this, I would use the puppet warp option. When I select the puppet warp, I can place down a couple of points, and in this case I would probably place down a couple of points all the way to the tip off the legs. Thanks. So that way I can put them exactly where I want them on. By the way, it's quite fun because we can move around the three year almost like a puppet. That's why it's called a puppet work, but more importantly, I can drag the legs into the shape that we originally created. So it feels like these details are completely steel in that original shape, where they belong even this one here we can just drank down and hopefully you can see orderly. What? I mean, I go back and double click on puppet work. We can maybe just drag this detail up a bit, maybe the legs as well that this feels more like it's being peeled from the surface. But to make it even more interesting, But I would do is to go back into the color overlay needs to be sacked. Two. Um, that's just said that to screen that way, the Grady and overly should be visible on top of it. Or we can also turn off the color overlay and just use this Grady and overlay as our color . And that way we can just use the Grady aunt by clicking on that and set it up to whatever color we want. So we can take this color from the background as one of the color stops and then the other color stopped. We also picked the same color, but then that color we can increase in brightness. Yep, something like that on this color can also be slightly brighter. Actually, yeah, that's that's quite good. Just just have these and then around the halfway, we can add the darker color, maybe even darker than that it's getting there. Yep, something like that. Click. OK, now the good thing about the Grady and overly. Once you have a great and you can see that having it selected here in the layer styles, you can drag this up and down in the designer. Not many people know this, and this is actually one of the easiest ways to set it up in the right place. Unfortunately, you can't change the angle, but you can use the Layer Styles panel to adjust that so you can adjust the angle. On day, I feel like the bench. This probably would be around this, this part here, and we can always increase the scale so it's Ah, spreads out a bit more and we can reduce the I mean we can increase the opacity to have a big, better designed there. Now you can argue that if the light source is coming from this direction, this detail might be a little bit darker. But I think that's for now is a good start to indicate that brightness. Ornette bent there, and we can always make the top design slightly darker than the bottom. Something like that and what I would also do is to end a bevel and them boss on this. But we just a normal level, something like this. The only thing is I would change the direction off the light. It should be something like that. So the light is coming from the top. Yeah, it's quite good, maybe completely from the top like that. And then our shadow, our shadow can be created separately. But for now, this this I think looks fine, can reduce it a little bit, maybe something like that. But that gives already a bit off depth on the edge for the design. But what's also important is that if I want to have a bit even more shading here at the bottom, I can create an additional layer. Create a clipping by old clicking between the two layers, so clip it onto the layer underneath. And if I were to paint over this, that could help to create additional shading. The only problem is that if you are using facts like the ingredient overly or color overlay by the fourth, anything clipped onto them won't be visible. So you see, if I'm not clipping it, it's going to be visible. As soon as I clip it onto it, it disappears. So what you need to do is the double click on the layer and go into it. You can turn off land clip layers as group and turn on blend interior effect as group. It's a bit tricky, so if I cancel out of this and show this again, so double click on the layer, turn off the blend quickly yearsas group and turn on the blend interior effects and group what this means. So to translate this, it actually means that whatever effects you applied on the route layer, which is the mosque itself in this case that is going to be applied on all the clip layers together. So we have this additional layer on top of it, and you can see if I move this around, I can flee feeling with whatever I wanted. And obviously this is the layer that's clipped onto it. Off course. I would use a different brush so I would use more like a soft general brush and reduce the A pass ity of it as well and pick a darker color. And then I would just start shading the details that I want to meet darker. So to make this blend in a bit better, I would start blending the edges, like so and here as well make it almost completely been blend in. So it feels more like the appealing those details out from the surface off the design. So that's that's basically what I would do as as an additional layer that helps to make sure that it feels like it's being peeled and creating that fact. We can also, of course, paint over a couple of additional details like this whole shape here I can make darker, even the antlers around here. We can make it darker. I mean, we can really be specific about how we use this additional layer, and you can't even decide to turn off the grading overly. If you don't like it, you can just use and no more color overlay. Instead, it's up to you. I mean, whichever is easiest for you. But as I said, a combination of all these techniques together gives you a really good control over everything, and everything is completely non destructive, so you can amend the puppet warp by double clicking on it. You can amend the color overlay Kinnaman, the Beverly Man boss, and the whole thing is a smart object. So its resolution independent as well. A vector smart object that's important. So it's coming from illustrator, which means completely you can scale it up to whatever size you need. Once you're happy with there is up on, I'm just going to turn back the shadow and that I created. And that's by the way, also is just a duplicate of the original shape. And I used to go see Ambler on it for it to fade out and make it look like it's more like a soft shadow. So, yeah, that's the last example I wanted to cover, and hopefully this was useful as well. This was more about working with smart objects and layer styles in for the shop by the other two examples was more about illustrator techniques. Hopefully, you found these old useful and, uh, hopefully, um, these techniques will help you or inspire you to use them for your own designs. 28. Day 24 - Christmas Pattern (Ai) #358/365: - I have two examples here, off Christmassy and voluntary else. It's more like autumn or winter, while it's a mixture of the two patterns. And what I wanted to do with this tutorial, for example, is to explain that it is very important for patterns to have different sized objects in your pattern. So don't use the same size have large, medium and small sized elements in your design. Like here is where we have large, medium and small sized details, which in my tutorial, I even separated and showing it in German held its final pattern. But showing here, uh, individually that we have these categories. So I would normally have, like a hero design, you know, element that is the biggest and what really sets the tone of the illustration. Or better. Then we would have the larger elements here at the bottom line, and we have, like the media months and then we have two small ones fillers, and combining these together will create a nice, evenly and balanced pattern at the end. That's a really, like, interesting point about making patterns, because the temptation is to make it all like a similar size, and you're like Oh, it's just gonna be a pattern is just going randomized. But actually this gifts, they say it makes it feel a lot more like polished and a lot more even. Really? Yeah. So your pattern design is another one of those things that there's not many rules, but again, the rules are similar in all other design in general, like working with scale, having balance the colors. Higher hierarchy exactly that would having Editorial design year. It's applied but slightly differently. But it serves the same purpose, yeah. 29. Day 24 EXTRA: the first of all we pattern designed. The most important thing that this is something that I mentioned in the video as well is that you need to have different sized elements, a different type of elements. We can also call it the one that is the biggest and the most detailed usually is the one we call the hero element. Now this is here, in this case, is obviously the Christmas tree and as the theme off the whole pattern. So it makes sense. It's a Christmas pattern. The most common symbol that we think of when we think of Christmas is the Christmas tree, so that can be the hero element. And then there can be different priorities or hierarchy between the elements. You can have either the size of them or the detail level off them that will decide which level they get into. Now. These all here I would call roughly the same level. But as you can see, I have bulkier elements which I would call the second tier. Then we have still detailed them. Colored Elements Year, which I would call the third tear thes, are still useful to have and show more detail but they take less space. When these on the top, I would call fillers basically feeling details or gaps in your pattern. And they are good because they don't take too much space. They don't have too much detail. You can really use them small and tiny, and still they will look nice. So having these set up before you start creating a pattern is very important. This is This is how I would start a pattern design. I would actually do the illustrations for each of these levels, and I would do at least 34 for each level. So starting with the hero element probably is the best to start on and then work your way towards the fillers so it doesn't have to be this much elements. As I said, you can have much less and you can still make a pattern work really well. But the more elements you have, the more varied and interesting your pattern can be. At the end. Let me show quickly how I put together the pattern. It's a very simple process, but there's a couple of simple or like advanced techniques that's worth mentioning to make it easier. Whenever you are building patterns, an illustrator and that turns can be used for the little thing. So it's very useful to learn this because you can then market it and sell it in so many different platforms. And you can make money from your patterns either as a stark illustration by also, you can sell it on sites where it's, ah, about creating, like, packaging for products and so on and so forth. So I am going to show you quickly. The final result is here. Okay, so that's what I created. But I'm going to start fresh and normally what I do is I select the elements that I would like to work with. Now, in this case, if I want to use all of these, I could select all of them together. And I'm just going to duplicate now very quickly. Okay, move them down somewhere around T year, and then I will go to you. So I just held on the altar option key to duplicate, by the way, and now that I have them was selected, I go to the object menu and choose pattern make. So let me just show this once again. It was object pattern make right now. Once you are in the pattern maker, it will have the pattern options on one side. And this panel is important because this is where you set up, how your repeat pattern is going to look like. So how the tiles are going to be arranged and so on, so forth. But first of all, most important thing is your time frame or tile edge blue line that you see here is what defines that edge. That's something you can change by selecting this tool they store here in the panel doesn't really look like a tool, but it is a tool. It's called pattern tie tool. With this one, you can extend the area, which is your tile, and you can see immediately that those repeat elements on the site I pushed for that out because we have more space now. The next thing that we can do because, of course, we can change on the size and aspect ratio of this rectangle if you wanted to, so we can make it completely into a different shape. But I'm just going to stay with something a bit more rectangular like this. The next thing that we can do from the panel is that we can switch to one of these tile type options, like brick by a rule, which means that instead of having a grid where everything is repeated on top and below into the site, the brick by rule is going to shift the elements or the tiles with half offset you can see on the top. The tree is shifted because the distance or half the bits off my tile same is happening below. But you can also do dough brick by column. So then instead, we will have the columns shifted slightly and the whichever you choose to break pyro break my column. You can always decide also on how much offset you want because you don't have to use the half offset. You can also set it to quarter off sir or third off Sam, and so on and so forth. So it's completely up to you, whichever you prefer. Now what you can also do is to actually type in an exact science here, So if you want to be more specific, you can type in, let's say, C 650 by 400 pixels. In this case, because I have the the measurement set up as pixels. That's the value that you was up here. But once I have my tile ready, I can now continue and change the elements or moved elements around because at the moment they look very rigid and there's no interest in them at all. So what we can do is first of all, as just move this tree and set it up slightly on angle. For now, let's let's have a look at it like that. Okay, then let's move a bigger element here on the edge than another one up there. We can start trying rotating these as well. Let's make this one a little bit bigger. Okay, there's a gift. Maybe make this one also slightly bigger here at the bottom, and I'm using the shift and old keys or option keys together to increase the size and keep the elements in the center wherever I place them. Now let's move these a port a bit. So what I'm doing now is to separating my elements a bit and trying to create a bit more space here in the middle. So I'm going to put the hat, maybe somewhere around here. They give somewhere around there in the middle. We can have the filler elements as well spread out a bit for now, just so we can see how it's going to work. Let's put that another adamant there. Okay, this one. Maybe that's actually fine there. Let's put this one up here. One down. That's okay. So that's quite a good even distribution already. As you can see now, the good thing about the pattern maker is that it immediately gives us an idea of how things are repeated. And the most important aspect of pattern design is to avoid showing the repeats so you don't want to make it look to repeated. So you can see I have a quiet good array year, and if I zoom out, it still doesn't look too repeated. Of course, we can see the tree. If we concentrated on certain element, we will always be able to tell where the tiles are, but you try to break up the edges, so if there was no tire visible every too, by the way, you can turn off easily. So if you turn off the show tile edge, it gives you a better idea of how it's going to look like. I've always turned that on and off. I keep it on when I'm working with it. But I turn it off when I want to have a better look at how the elements are put together. And by the way, you can also turn off temporarily. The Dean copies option. This is again another useful one. Teoh have just an overview off how the pattern is going to look like. So while you're working and putting the the elements around or moving elements around, it's good to have both the name and the tile edge option on so that you can see which elements are the ones that you are working with, the ones that are the actual repeated designs. Because all the other ones, I call them ghosts. They are just instances or newer versions off the originals that you're moving around in the middle. So let's say we are happy with this design from now, and we want to see how it looks in action now. For this to work or you have to do is to click on down here on the top. Once you take on done this is going to be turned. I mean, this is going to be saved as a swatch. Once we click on done, it's added in the swatches span was a noose watch now to see that inaction I'm just going to delete this year I'm going to use the rectangle tool and draw a big rectangle here on the campus or the workspace. And then I am going to select for the field color. It's important not for the stroke, the field color. I'm going to select that design that we created notice that is going to have the same exact science for the elements that we had to get into the pattern. But that's something that we can change. So if you want to resize this by default, if I just change the size off the rectangle, it depends on what setting you have. It will either just change the crop off the design that you can see or the parts of the pattern you can see, or it will resize it. In my case, it's re sizing it, but the most important thing is that you won't find this option under the transform panel, and within here you have to click on the menu so the transform panel would drop down menu. You will find out by the foot I think it's going to be set to transform object on. I think that's the D for adoption. If I now do the same thing and change the size, you see that the object which in this case is the wreck tango or we can even call it The frame is changing, and I'm revealing or hiding parts off my pattern. But if I go into transform settings and I choose transform both or transformed pattern, only then is going to change the size or the scale off these repeated armaments. Let's try pattern only for now. So if I said that up and I start changing the size you see it's going to change the pattern . I'm in the scale of the pattern, and holding them shifty at this one becomes important because otherwise you can also end up stretching the elements. And that's not something you want to do. So it doesn't really matter whether you use pattern on Lee or both. I normally would select transform both. It just makes more sense. So if I now hold down the shift key. I can meet the elements smaller. And then if I go back again to transform and choose transform object Only now I can extend the area and I can see more off my design. So instead of zooming out, I can do this one step switch to transform pattern only and then going back or transfer both and then going back to transform object only, and vice versa. So just remember that you have this selecting selector option that it's a shame that there is no quick access to it. It might be faster if you go through the, um, transform options here inappropriately spinal. So again, actually, is this no even included Here, you have to actually open up the transform panel and reading that you use the Panamanian a bit silly that there's no quick access to this option or there might be something that I don't know, but as the fastest way I can access it. But yet just used to transform panel or this option here in the control bar to access this feature now, one additional important feature. And this is the last thing that I wanted to mention about this workflow is that once you created us what you can always go back and make amends to it. And the simple thing you need to do is the double click on the switch. So that takes you back to the design. I'm just going to cancel out of this. And it's just important that if you don't want to mess up your preview block, which I call this the preview block, if you don't want to mess that up, then decide like that first and then double click on your swatch. That way you are not updating the currently selected shape. Okay, so here you can make changes. I'd say we can just move on, make this hat slightly bigger and rotated. If I say Don, then this is going to update here in this pattern as well, because this is using the same swatches I feel now more not lasting. That I wanted to mention is also important that from the appearance panel, and we said like the subject. If I want to end the background color, then I would create a new field color for the subject. So this preview block put it at the bottom and then picked whatever color I feel like is going to be the best for this design. So you can see I can very quickly change the colors around. And the good thing is that the pattern is on top of this color completely separate, so you can always turn it on and off and have quick access also to any colors. If you shift like on this field, drop down. We can pick any color from here and just find out which I were expressed with our design. Okay, so this is definitely on the best way and method or working with patterns. I wouldn't use photo shop for creating patterns I highly recommend to use for everyone to use illustrator. Even if you are starting off Rick Pixel illustrations or assets, you should bring them into illustrator with the highest resolution available and then plays the place that golden start off with a palette. Off assets like this very organized them nicely. You have different tiers or levels with the hero element, and then so on and so forth until the feeling elements is create are created. Once you have them already, then you can start building your pattern and These are the steps that you should be following. All right, So if you are interested to find good examples off pattern designs, I highly recommend the check out. Be hands. You can find some amazing designs there, or Pinterest as well. If you just do pattern design, you will find lots of inspirational designs. 30. Day 25 - Neon Lights (Ai) #359/365: - this'd fact relies heavily on blur. So whenever you create the neon effect, you will be using a multiple strokes on the difference effects on them, but mainly blur. So the Gaussian blur is the bond that creates this shining, in fact, So if I turn off the blur on that element, there, you'll see is just simple strokes on top of each other. But it's nowhere near the design that we have underneath and the in general. You have to keep in mind that whenever you want to create the sense off light, you should also consider the environment. So if I remove this shape immediately not, it doesn't feel as much like a neon light by. If I go back and have it there, the green light that this neon would be a meeting is affecting the surroundings, and a simple technique for that is just to use the circle and set it up. Also, be a defender. Effect feather effect is justice good or go Sembler, whichever is easier and just wanted to show a nice example. Here I found a free pic showing Christmas trees in different raise like create Christmas trees created in different ways. again. Whenever you do illustrations think outside of the box. And don't just copy existing designs so many different ways off, like using roughly the shape that we won't know. Yeah, having a triangle, green triangle and style on top of it. Even in the most abstract sense, people will know that it's Christmas and then you can't feel free. Teoh play around like this one. I really like the felt style, the stitching around it. I really like these. Let loose, curvy lines that then used instead of, like, quite sharp, jagged lines that you would you would get, like typically with Christmas trees. You still getting the idea of what it is. But it's just a lot softer. Yeah, be cool to see if if you guys come up with anything like cool doesn't card designs of your own life, send them, send them into us. Yeah, it would be nice to see what you come up with. 31. Day 26 - Gift Box (Ai) #360/365: - have some references here. I can show where it quickly is are all illustrated the designs may need. The main difference is that this one is more to the way we see the boxes from one and go while these ones are in perspective. Thes Look, I really like these ones are right. For some reason, they feel a bit like I don't know, um, a bit like fifties sixties die administration a thing because of their proportions and like , funky angles. But you had that really nice style. Probably that one, Um, but the example that I've done waas using a combination of different techniques. So I started off using the three d extrude and bevel. But then I caught. I expended that and cut into it to create these additional details, which looks more like the top off the books. And then I drew these lines over it, which is like the have the But the probably the most coolest feature here is again the blend tool used in again, a different way. So in this case, we have to objects or if I just select, just double click and said at that point that you can see that we have one object here, another object that in the 3rd 1 here. So it's actually three items connected with a spine. Again, this being the darker one, that being the brightest and that again being like in the middle and simply by having them put together creates a sense of three dimensional space. And, of course, if I said like this when I go into object blend options, I can increase the smoothness of it because we can still see a little bit off the edge there. But if I going to specify distance and reduce the space down to something as Lewis, that we have a very, very, uh, a soft edge reality because now it creates a lot of elements inside it. And here is where we can have a very nice subtle transition on the rebound. Yeah, so and it's enough to do one, because then you can just reflected on and create another one based on the same element 32. Day 27 - Design Rules Part 3 (Theory) #361/365: - for this session, we've decided to cover some rules about photography. Free on how what not to do When you're creating a graphic design composition for one incident, the 1st 1 is avoid by bad retouching. Even big companies got court. Yeah, extra limbs on their cover shoots the That's one example. Another one is probably to use high resolution stock photos If you don't have access to paid photographs. Use UM, really good quality images and trying Germany. Avoid Clipper, so orb illustration, because it can make your work looked really tacky on the also. When it comes to using photography, just make sure you have a good exposed photograph, so nothing to over expose. It would look quite bright under exposed, really dark and dull. Just trying just and create to exploit that looks natural. You know, if you take the picture yourself, make sure you set it that bright. Or if you find references, choose the one that has already a good exposure. What if it's not perfect? You can refine it with levels and curves in photo shop pretty quickly, exactly the same with the saturation if you just I know a lot of people in the start. How they want to just pop everything out, make everything very violent. Yeah, unfortunately, it can look really fake. And it's just just trying. Try and keep as natural as possible on, uh, just saturation accordingly. Yeah, the light source. So that was pretty much it about photography and limit imagery. Do you think you have another advice? I'm sure those laws, but we talked about cropping people, which is another important aspect of working with images or cropping in general. I would definitely consider that also part of this, but that I think this is a very good round up. I think as well I agree. And I think who says Well, just thinking about having like a point of focus or like a focal point in your images, like is convenient could be really useful, like we've covered in, like, way back in a few months ago. Like there's a few tutorials on, like the rule of thirds and placing important elements in your image in the right place. Think we have one on the golden spiral as well. So maybe check those out if you're interested in photography as well. But this is great and Maybe one other thing is that because in your designs you are going to combine images with text. Always keep in mind how much tax you will have, because if you have a very busy image photo with a lot of text on it, that would be hard to read and confusing. Eso. Think about the balance off your design elements, and based on that you can choose images. There's actually something worth mentioning that on Adobe stuck when you're searching for images. For example, if we're searching for I don't know for rest, there is a very first of all. Of course, you can feel ter for showing only photographs. That's fine. But then you have additional options here, and what I really love is the depth of field. So when I imagine you have a lot of tax that you need to place on an image, something like this wouldn't really work or even that one. This one is much better already. But if I increase the depth of field and same or blur, then we immediately get images that would work much better with a lot of text so we can find images like this one here But you can imagine you can have a lot of text there or you can also I don't like this one is nice. It still has the for EST. In it on we can go down like this. One is really good. You can without having, like a color overly or like a container or highlight. You can still have a lot of text on it and easily legend. So, yeah, and Adobe Stock has also options for, like refining your search results based on the color intensity, which is quite cool as well. Actually, it even has now. This is new copy space that so we can say images with copy space so that already things off the empty space that you can fill out with. Copy that you can say natural or manufactured what would be manufactured. That's interesting. That's natural. And then let's try the other one. So if we take off natural, these are manufactured ones. So using like containers, thank you, Teoh put text on. That's That's brand new. I think that's I haven't seen that before, but you expect more and more off the special options for filtering in adobe stock. They are constantly improving it. And they're using Adobe Sensei the artificial intelligence if understanding what in the images are about. Yeah, so these are. These are really smart technology and even color similar. Teoh Pinch Asari dribble. We can pick a color so that say, we want more colder tones on forest. We can still find them. Or maybe if we choose more like let's say we want more sprinters autumn, Call it immediately. We will find that. So now we have, let's say natural as well included. Now we have images with copious space, high depth. So ah, more blur depth. Full field is impressive, the more old temple is, and we can maybe even say within that I want more vivid colors. This is starting to get very specific is also is going to save you time searching for things. It will be really easy to mind things very quickly because you can literally, like, really customize your such It's really cool. Yeah, 33. Day 28 - Drawing on Grid (Ai) #362/365: - I want to construct illustration and be very specific about your sizes and align to agreed. Having the Greek turned on is very simple. You just need to go to view menu and then choose short grid is the commander control apostrophes the short gap so that I can turn it on and off Within the preferences, you can find the greed color. So if your background color is too similar yeah, you cannot take it. So I just select yellow. Now we will see much better. And then Koeman shift Apostrophe is a shortcut. However you want to snap or not to these lines. So having them turned on doesn't mean that your design will snap to it. But you can see now I have the snap turned point. So whatever I draw automatically applies if I take it off. So using that short cap, I will now still see the grid but draw freely. So then you could just use it to line up If you wanted to, you could be a specific, you know, you kind of want to pay Exactly. So, yeah, that's the way you work with it, greets an illustrator And don't confuse the great with the pixel grid because you can also have the pixel grid visible that you turn on with the View pixel preview, which, based on your current size, we'll show you how this would look like in a J Peg and P and G when you save it out. So even though it's a factor object, it shows you have pixelated. It would be with the current size because notice how small it is. I am actually zoomed in eight times the current size, so it's a very small art board. This is actually the 100% view, so it's tiny, so that's also another useful shortcut command option or control old. Why is a short gap to quickly check the pixel preview and thats which back to the fact of you cold. 34. Day 29 - Less is More (Ps) #363/365: - something that is a basic rule in design, that less is more and on maternal, on all of these layer styles. Here we can see how when you combine a lot of different styles together or lots of effects , it will get really overwhelming. And it's just unnecessary. So simply turning this off already looks so much better. Yeah, but if you really want to add the facts be, be careful how much you introduced that off them. So, for example, if I use drop shadow and then on top of that, I'm using maybe an inertial as well. That's already too much. Use long or the other, or even if you are using them, use them very sparingly at the drop. Shadow is very common, one that people use intend to like have really aggressive drop shadows, something like that. So instead of having a drop shadow like that, I recommend always to start from the lowest amount and then slowly drag it up and try to stop. There. You feel like it's just the minimum amount that you need for your design. Instead of starting from the maximum and go down, start from the lowest and slowly cool and the same thing with the sizes will start with the lowest amount and see how a subtle drop shadow like that looks really nice. So so much more professional than I hire a big blur behind. It just looks messy, doesn't it? Doesn't make sense. Yeah, so, yeah, I think when you're first starting now you want to just make a styles stand out for you on Yeah, yeah, and it's good to see how they work. Like, you know, you feel free to add load two styles onto something just to see what they will do, but you don't have to publish. It is a piece of artwork that's just, you know, exploration. So you study, study how your design changes based on what type of effects and amount of effects you're using, but always keep in mind. Less is more eso it's It's more about the composition and contrast than these gimmicks that you can add on top of it. But not to say that using layer styles is irrelevant because using them in a subtle way can actually had a lot to your design. 35. Day 30 - Fireworks (Ai) #364/365: - hear what I created is first of all, a matching the background which craze that night sky but lit up by the fireworks, the different colored fireworks and then the actual fireworks itself is quite similar to the effect that I created for the Christmas tree. The neon effect. Here again, we have an outer blue. But also one thing that not many people know that you can actually have radiant on strokes . So this is a stroke David toe created so that we have no, actually, is the vits profile, Um, and having a much of either point on mine and no one on the other one, you can use it if it through for this as well, but also using a Grady in on it. So the stroke itself has a great aunt. If I switch to the great and tool, so that's That's the Grady. Um, and I, as you can see, I have it on the stroke, not on the field. So it's important to understand that you can use ingredients on strokes as well, and that can work really well in this case for for the fireworks effect 36. Day 31 - Merge Layers (Ps) #365/365: - our very last tutorial, Waas, about merging three D layers in 40 show, starting with an illustrator design. When I used the type, Which type tool is this The feet feet type? There's no it's another word touch type. I forget the name, the touch dive. You can create this more playful wonky alignment but still having an edit herbal tax. And then I've took that into for the shop and created this final version when we have a three D text. But more importantly, you can see that these blocks on the icons are part of the composition, and they actually integrate with each other so or interact with each other. So the shadows connecting them all together, and the way I've done this is by having first set them a separate objects but then merging them together. So when you have multiple three D objects, you can select them and simply use the merge layers. So like we would normally emerging normal ears. But if it's three the object, that means they would end up being in the same three dimensional space. But you will still be able to move them around in that space that they're still independent three D objects. They can just now interact with each other. You can see how that shadow is in a three D space moving on the object like here as well. I can move this around and you can see how the shadow is in directing. And we can, of course, move this object around as well so I can move it. And then he comes through the tax. Oh, close behind it on again. I can move it down over it on back. Can you still edit the depth of the Yes, you can still do that as well through the three d panel. So if we go to three d panel, we will find the actual, appropriately special. I think it isn't properties panel. There's the extrusion death. So if I want I also added that so even though we have been for the shop, you can see how much off these three D features can use and you can create even the text itself. Off course can be moved around so I can select the whole attacks, and even that can still be moved around in three D space. It looks great. 37. Conclusion: congratulations for reaching the end of this year. Long course. It's a massive achievement and we hope you enjoyed it as much as we enjoyed creating it and have gained planting off useful new skills. Don't forget to do the creative assignments as they will not only help you to practise the techniques you learnt, but also to produce designs and illustrations to be proud off. If you found this course useful, please leave a review on it to help us produce more courses in the future. I hope to speak with you soon, and until then, have fun learning.