365 Days Of Creativity - Month 3 | Martin Perhiniak | Skillshare

365 Days Of Creativity - Month 3

Martin Perhiniak, Design Your Career

365 Days Of Creativity - Month 3

Martin Perhiniak, Design Your Career

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34 Lessons (4h 9m)
    • 1. Welcome

    • 2. About the course

    • 3. Day 1 - Icon Design (Ai) #60/365

    • 4. Day 2 - Drawing Feet (Drawing) #61/365

    • 5. Day 3 - Circular Text (Ai) #62/365

    • 6. Day 4 - Blend Tool (Ai) #63/365

    • 7. Day 5 - Hand-drawn Sketches (Drawing) #64/365

    • 8. Day 6 - Using Frames (Id) #65/365

    • 9. Day 7 - Triadic Colours (Theory) #66/365

    • 10. Day 8 - Pattern Brush (Ai) #67/365

    • 11. Day 9 - Portrait Illustration (ProCreate) #68/365

    • 12. Day 10 - Vectorising Hand Lettering (Adobe Draw) #69/365

    • 13. Day 11 - Simple Grid (Theory) #70/365

    • 14. Day 12 - Align and Distribute Panel (Ai) #71/265

    • 15. Day 13 - Brush Smoothing (Ps) #72/365

    • 16. Day 14 - Banner Design (Adobe Spark) #73/365

    • 17. Day 15 - Custom Type (Ai) #74/365

    • 18. Day 16 -Selecting Hair (Ps) #75/365

    • 19. Day 17 - Face-aware Liquify (Ps) #76/365

    • 20. Day 18 - Digital Watercolour (Adobe Sketch) #77/365

    • 21. Day 19 - Contouring Portrait (Ps) #78/365

    • 22. Day 20 Character Art (ProCreate) #79/365

    • 23. Day 21 - Geometric Line Art (Ai) #80/365

    • 24. Day 22- Cutout Technique (Ps Mix) #81/365

    • 25. Day 23 - Content-Aware Move Tool (Ps) #82/365

    • 26. Day 24 - Complementary Colours (Theory) #83/365

    • 27. Day 25 - Editing Photos (Ps Fix) #84/365

    • 28. Day 26 - Balance in Design Layouts (Theory) #85/365

    • 29. Day 27 - Horse Painting (ProCreate) #86/365

    • 30. Day 28 - Orphans and Widows (Theory) #87/365

    • 31. Day 29 - Art Brush (Ai) #88/365

    • 32. Day 30 - Scribble Effect (Ai) #89/365

    • 33. Day 31 - Mesh Tool (Ai) #90/365

    • 34. Conclusion

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About This Class

Welcome to Your Biggest Creative challenge!

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

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

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

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

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

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

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

Meet Your Teacher

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Martin Perhiniak

Design Your Career


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

Martin's Motto

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

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1. Welcome: are you looking for a course that is guaranteed to help you develop your graphic design and illustration skills using Adobe Photo Shop illustrator in design and creative Absa like procreate, a course that gives you creative projects and assignments to work on every single day for an entire year and helps you to build a killer portfolio? Well, look no further. This is the one for you. I am Martin per maniac, certified adobe expert and instructor. Besides working as a professional graphic designer and illustrator for over a decade, I have filled thousands of people in classrooms, webinars, online tutorials, courses, life streams and conferences like that will be Max. Thanks for being truly passionate about both using and teaching design applications. I am proud to say that I was officially voted as one off the top 10 Adobe instructors. Having worked as a designer for clients like Disney, Mattel, Cartoon Network, Nickelodeon and BBC, I have ensured this course will help you start using for the Shope illustrator and in design like a creative professional. This course is perfect for you if you are just starting out or if yourself the wood and aiming to get confident working on graphic design and illustration projects. This is the largest online course on the platform, with over 700 video lessons and creative exercises that will motivate you to study and work on exciting and entertaining projects every day for an entire year. Studying from this course will also help you to accumulate hundreds of designs and illustrations you will be proud to include in your portfolio. If a full year off studying sounds taunting and you prefer to speed up your landing progress, you can easily cover more than one project a day and even skip a few. That doesn't fit your side. This way you can potentially finish discourse within a couple of weeks. It's a unique learning experience that you can adapt to your learning style and lifestyle so you can shape your own path, the words becoming a creative professional. Throughout this course, she will learn from me and two other designers, which ensures you will learn a variety of design administration. Stine's. We have carefully selected each example to make sure you get clear explanations without wasting time, even while we explore complex techniques. Take the next step in your career and roll on this score snail and make today the first day of your 365 days off creativity 2. About the course: through this video, I'm going to walk you through a bit more in detail. How this course is structured each day will have a project. Now, these with yours were very in content. Some off them will be actual technical exercises that you will be able to follow while others might be more theory based. What's common in all of these videos is that they will all start with a one minute introduction. This is just to get you in the mood and to understand what that topic is about. And then the video will move on to the second part where we will be going through the whole process. So it becomes more like a commentary. So you will see us talking through the techniques. What? The theory that we are covering that day, once you watch the video, was you will also be able to download the exercise files. Not all of the videos will have files, only those ones where we are going through creative projects. We recommend that you watch the full video, including the introduction and the commentary, and then download the file. You can follow along and use the same exact file. So you can practice what you've seen in the video if you have time, and if you feel like you want to practice even more, be advised that you also trying out the techniques with your own file. So whether it's an illustration or a photo you took, you can practice the same things that you've learned on those for discourse. It is recommended to have at least a basic understanding off one of the adobe applications . Don't forget to do the creative project at the end of the course. So once you've seen everything, you will find a brief that you can follow along. And based on this, you can work on a more complex project and the final result you can upload, and we will be able to give you a feedback on that so you can improve The very you are working. We have actually 11 other parts off the series so you can find them here on skier share and you can follow the same structure, work through the videos, which you can do daily or even faster if you want. And of course, each of these courses will have a creative project at the end where you can really practice everything that you've learned. This course is based on a YouTube series that we were running for a whole entire year, and we use that Siri's to get feedback from the viewers and see what they think and how each of these projects can be improved. So this course is based on that Siri's. But it's an improved and refined version off that, and obviously we cover a lot more. So while there we were only going through one minute videos. Here you have for each day, the longer extended videos and tutorials, plus including all the exercise files for some off the bays each month we even have extended version videos. So for those more complex techniques, we decided to go into even more death. So I hope this course will be inspiring and you will learn a lot from it. Make sure you go through all the creative projects and assignments to really take the most out of this course. 3. Day 1 - Icon Design (Ai) #60/365: - what we have today is this cute little explanation or instruction, or like video about creating this icon with the pig and the reason why I chose this Because I get actually today First of March is officially the National Pig Day. I think it is. I didn't know about it, but it always gives us a good way off choosing what the actual theme off the tutorial will be. But of course, the actual technique that I was showing is town to use the shape builder tool in illustrator, but also that I started with a sketch handwritten sketch, and that's what I worked my my shapes around. No, it's not really a complex thing, so I'm just going to show you a little bit more in depth tutorial about using the shape builder to. But what I wanted to also show you is how important it is to collect a few references before you get started. And that's what I have here. These were actually the references that I used, So why did I pick these images of First of all, I was looking for the characteristics off a pig because whenever you're doing an illustration, especially a simple icon illustration. It has to really capture the most crucial details off the topic or, in this case or object or the character in this case, the pig. Now, when you're looking for references images, I recommend to first look for photographs, especially if it's a living thing that you are going to try to illustrate. And then off course, you can look at the illustrations on by others. You can learn a lot from both. If you're working off from photographs, is going to test your imagination a bit. And not just that, but also your brain. You will use a little bit more of your brain power to try to focus on those specific characteristics that makes your illustration look similar to the topic. Um, so when you look for references, try to find very like representative images, but also images that really compare well. So when you put them together, they should be from the same angle. Ideally, ah, and they should also have a good view off the actual image that you want to capture. So instead of just having the head off the pig or just, I don't know, like a very real dangle by the pigs in the mud just lying around. You want to have them fairly good visibility on them, and also it's important to find images where you can see the difference in proportions. So that's why I have a pig latte where we can see that like the legs are much taller or much longer. And in comparison to the body, they had these much bigger, and that applies to most small animals. So the cubs were example. Ah would have the same, like big heads and obviously babies with humans. Well is the same thing that the proportions are very different for the child to compare to the the adult. Now, when you look at the proportions, it helps you to define what the actual proportions are so that the pigs had compared to the body compared to the legs and compared to the tail as well. And on the bottom left, you can see, um, an adult or grown ah pig. And then we see on the right side at the bottom, a very special breed off pig, which is almost like a caricature off a pig. So it's like the huge Bali at the massive had and the tiny lacks. So the reason why I chose that is because that's already almost a caricature like a, um, an exaggerated version of what you think when you're drawing a pig. And that's why it's good to see that. So you see the extremes really like the pig latte is probably a good way off, like finding the proportions off the years, because there but years are just massive. And that's actually, once you see an image of a pig, let you will notice that the years actually really big on the adult version off the pig as well. So without seeing a pig, let you might not notice that. So that's why it's it's important to look at lots of different references. And, as I said, find the extremes and the reason why I included a hedgehog. I'm not them. I know that is a hedge. Hogan is not a pig on the top, right, because, um, it is in a very, very similar in proportions to a pick. So we have very short legs. We have a quite like opportunity, put pretty protruding nose calm. Pronounce that word. Um, we have quite the small had compared to the body and the bodies shape is very round now. The reason why it's important to mention that is because when you are drawing, especially when you're simplifying drawings, ah, you can easily fall into the trap of making it look similar or more similar to something else than what you want to actually portray. So when you look at my illustration off this big, you can easily see that if I change the proportions off the tail, the ear and mean maybe the nose, it can very quickly look like more like a hedge choke, even if I just simply changed the color. And this is interesting. If I just change the color as to see at, I'm going to shift, click on the color here and pick black even if I just change the color to black. It's already starts to look less of a pig so that pink color obviously helps, but it still looks more like a pig because I was paying attention to the proportions. But what happens if, for example, we just moved things a little bit around, so I'm going to use the direct selection toe, and I'm going to drag the nose a little bit further out. You see, just that tiny difference already makes it look veered. So it doesn't really look like, um, pig anymore. It looks something looks like something else. So if I start moving things around a bit, eight again starts to look different. Um, so any little change that you do will change the characteristics because we are working with a silhouette. When you're working with an icon, you are essentially working with a silhouette. And even though it's a simple shape, or especially because it's such a simple shape, it's going to be very important how you put those details down So the the proportions are key here, and every line that you use has to be the right size and right placement. So if I go back to stops, you see simply, just moving those things around immediately messes up the proportions and again, the same thing with the tail. If I just moved the tear further out oversee, it starts to look with, and it's just not right. Same thing with the the feet. If we start moving these things down and then it's again, obviously looking very weird and ought now having like a simply simply simplified illustration like this, or like a caricature of something is all about exaggerating things so you can always exaggerate. Like what you can see in my example, is the egg situation off the body. So we have a huge round body on, and we also have no knack at all, so the head is completely squashed into that round shape. That was my artistic decision, but that's something that you can do differently. So if you look at the the adult pig, you can see that there's actually quite a long neck on the pig as the proportions of the body. You actually see quite a big detail, the neck, and that's clearly visible also in the pig Latin, so it's less visible on the hedgehog. That's where the body is mawr, together with hat. So in that way, my illustration is a mixture overhead, choke and the pig, Um, but once again, this is all about deciding what's more important than what you want to highlight or exaggerate. So that's about a little bit of background on choosing your reference imagery and making artistic decisions. How you, ah, um, like, emphasize certain details of your illustration, but just assure you, if I print bring up my original sketch, which I have here, um, you can see that when I wanted to capture the characteristics off the pig, I really focused on these loose lines and getting the round shapes in place. So I wanted to get everything really round and curvy because that's I think when I think of a pig, that's what comes to my mind first. So to capture all this, it's obviously the best to use. Ah, the Ellipse stool and with the ellipse to when you're drawing, remember to hold down the space bar, the position your ellipse over your image. So if you are tracing, you can use this to get it in the right place so that we have a circle or lips, and I'm going to press shift X to swap the colors around, and I will probably increase the stroke size a bit just so we can see these lines better. Now I'm going to use my next Ellipse and go over this part here. That's my head. Essentially, that's what I'm reading here. And then I'm going to drew the years as well or that one year that we can see and you can No. You can see that instead of me using the pentacle. I prefer to use just ellipses and every curve that I have here, including the tail as well. I am going to use the Ellipse tool four. And why? Why am I doing that? Because using these perfect shapes, um, my, the whole continuity and ah, flow off my design work better. So once I combine all these elements together, you will see that it's actually helping us. So to actually were really nice form at the end. So when I select all these shapes together, then I switched to the shape of their tool. The shortcut for that is shift em. That's the fourth shortcut. And with that one first, I normally used the old key or option key to remove the unnecessary details. Don't get confused like here. I need the tail. So I just need to remove these. And I just drool over the bits that I don't need holding down the other option key. And then once I have the details that I actually need to keep, that's when I would just simply hold down the shift key and drove over the whole thing to combine it into one big element. So if I don't hold down the shift key, I could draw over it like this. But I just find it easier and faster for hold down the shift key and make a Marky selection than at the same time combined that the details together. So having the circles or ellipses to begin with help me to get a much cleaner shape and also keeping the anchor points to a minimum. So the last anchor points you have the batter. Normally your design will be, and here I think that shows quite well. So even though I haven't finished the illustration, you can see that it works quite nicely. And if I wanted to, I could even do the nose bet, um, with circles. So if I draw a circle here, I'm using this space by, by the way, constantly to position it. Then, if I draw another circle there, this one will be a more flat circle, something like that. And then I draw another one again. Don't even look at the other parts of the circle, just constant. Concentrate on that curve detail that you need. And then once you have those ready, you can select all of your shapes, including the original one, and then with the shape builder, you can get rid off the things you don't need. Just chuck them out. And then that was holding down the old key. And then you can hold down the shift key and combine everything together. So once again, even though it that didn't look like a circular shape or an elliptical shape, that was much easier to do, and I could go through the legs as well. I'm just going to do one, and you will see exactly what I mean. Even these shapes can easily be recreated with the right type off curve. Something like that. Maybe a little bit longer than that. Okay, that's nice. And then I'm going to do another one. All right, Something like that and that may be at the bottom is the only part when I would use a rectangle, I just use direct and goto that m is the shortcut for it. And then now, selecting all of these shapes together, using the shape of their tool, I can get rid of what I don't need, and I can get rid of that bit as well on the top and this little bit here, and I can use the shift key to cover everything up. And if I press shift X on this shape, you can already see how it's starting to come together and, ah, being built the way I wanted it. So once again, using simple shapes and using Shea Builder Tool will help you to create a very natural and and clean outline, which is crucial for these simple icons where everything is all about getting that silhouette, right, Okay. And if you want to emphasize details, don't forget to have some gaps. Like in my design, you can see I ended up adding, adding those gaps just to make sure that we see a little bit off depth. So just simply by leaving out the bit of space between those legs in the background, it immediately creates the perception over a little bit of that. Even though it's a completely flat silhouette, we still managed to get a bit off depth, a hint off that there that helps just to get a little bit better representation off the whole four. All right, so that's awful today. And I hope you found this useful. So the best and see you guys in the next one. 4. Day 2 - Drawing Feet (Drawing) #61/365: - So it's ah, drawing feet. And the reason why I picked this topic Because drawing anatomy is a huge thing for me. I love drawing people. And studying anatomy is something that I've been doing since I'm really like I was a kid, like, probably 9 10 when I first went to life drawing sessions. And, um, it was quite weird to seeing someone as young as that drawing people. Um, sometimes naked, of course. Um, but the teacher that I went to art classes and the teacher soon got used to it that I I was there. And although it was a cause for, uh, students for university preparing for, like improving their drawing skills, um, they actually got used to me. You could use to be seeing me there on Guy became a part off the group of these students, and they actually helped me a lot in improving my skills. So I always had this interest in drawing in general. But drawing people was one of the biggest things for me and because I stopped drawing Ah, when I went to university, I mean, I still drew I was studying product design. Um, but I was drawing Mawr like shapes and objects and much less humans and anatomy in general . So I never got to really refine my skills in it. So I find myself drawn back to this topic. Um, like, quite often, um, Andi, I still feel like I need to improve a lot because even though I can draw a lot of things, I know how important these to keep practicing. So the more you study and the more studies you do on certain things, the better you get in general in drawing so repetition and the muscle memory, it's all in the hands, really the coordination and and the visual memory that you build up a library in your head or things like the foot from all kinds of different angles. The more you practice, the better you get at it and them really today I won't really show you much practical skills here. More, I would like to just draw your attention to one of the most important lessons I've learned about anatomy. And to be honest and drawing in general is that almost everything can be broken up and simplified into simple a few simple geometric shapes. So what you see here on the right side. These illustrations showed really well that drawing. Ah, the foot can start again with simple shapes, and from these shapes you construct the form and by breaking down anything into the simple geometric shapes like cylinders, three years and ah, boxes. You can really understand the relations between these details and elements, and you can see much easier in perspective as well, so you can see how these shapes are joined together. And, of course, even as simple detail on the human body, like the foot you can see is actually made up of lots of different shapes. So it's not that easiest having, like just two or three geometric shapes joined together. It's actually much more complex than that. But when we look at the shape when we look at the foot from the side and if I start drawing over it, it's actually quite easy to simplify it down. So I'm just going to rotate my view a bit and you can see I'm using the rotate to for that . By the way, you can see that from the side we can see, and that's probably still a little bit to think that brush, but yet so we can see a fairly good books here at the end. So this almost looks like a books. Then we have a clear triangle here that we can also fit in there. Okay, so that's already two shapes from the sides that we can use to our advantage. But we can also see a sphere here around this part. So there's to round details that come out, which is more like a a sphere. And then we can also see another sphere around here. That detail and then the toes also can be considered as either ab Celinda or like a smaller , um, connection off spheres, something like that. So you can see immediately. The complex shape gets much easier once we put it together and build it up from these simple shapes that I just drew their and the same thing would apply to all the different views. We would always be able to find these shapes, and that's what happens here as well. That's another important technique or skill that you can develop is that you are drawing the lines that creates that shape. So you are working around the shape and you're no only drawing the outlines. You are actually drawing in these important lines that defined a shape. So that's something also that's worth learning and practicing. But drawing anatomy is a huge topic, and there's probably a lot of other instructors much better at explaining in the me. Hopefully it was still useful to learn a little bit about it and let me know, or let us know if you want to learn more about it, because, as I said, it's one of my biggest passions, so I would love to talk about it more. 5. Day 3 - Circular Text (Ai) #62/365: - we have another interesting tutorial, an interesting topic to talk about. So it's about circular logos and especially putting typography in a circular shape or put it around something that circular. So I showed you in the one minute video how to do this, the technical side of it in Illustrator and in this video, the exclusive Patriot video. I wanted to talk a little bit about the actual advantages and also the pitfalls off this design decision or this type of design element. So, of course, we know off a lot of famous logos and brands that use that format or used. This format, like Starbucks, is a perfect example. And also there's loads of other examples that I didn't list here that I'm sure you can think off straight away. But why do they choose the circle? What's the point in working with a circle? Ah, well, the circle is the most perfect shape, so the geometric shapes that most designs will rely on a scrap triangle and circle most of the time. And, ah, these simple she geometric shapes help really define something in the most simplest and clearest way. And that's why they're so popular. But out of all of the shapes. The circle is the probably the most perfect shape because it doesn't have any corners, and it's like perfectly, even all around. So it is like a constant element in design for centuries or forever, to be honest, and you can you can find these elements in old cave paintings. Even the circle has always been around. And it was always an important element in religion in, um, history in general. So you would find it in a lot off crests, for example. And it has always been very important for, um, for us humans. So ah, we definitely rely on the circle and the power that is in the circle and the in graphic design. This is oversee one off the important thing for us to to emphasize or to get our message across and using elements like the circle is a great way of doing that. But once you start putting text on the circle or around the circle, you have to consider a couple of things. The first of all, you have to think about the placement and to make sure that once you have text on a curve, it still needs to be illegible, so legibility is always an important factor. And straight off, if you think about famous levels like the London Underground there, it's actually a different decision. Where the Texas not following that circle It's crossing the circle, and it's a very, very bold statement, but it works. So instead of trying to align the tax with circle, it's exactly the opposite. Is just crossing over it like a bar. And, um, it's one of the most successful local designs ever. So there is a decision, whether you first of all, even if you use a big circle and that's one of the main elements of your design, it's an important decision to make whether you want to follow that shape with your tax or not. So always concede that that and of course, you can also do both so you can have text inside the circle and also still around the circle if you have a lot off tax that you need to fit. But what I wanted to say is that these designs here in this corner are working really well and they look really good and I intentionally show a few designs that are less effective, and I will talk a little about why I think they are not as good. So the ones on the right and then I included Vodafone's logo for a reason because it is, is a circle. Essentially, it doesn't use taxed, but it's still similar to like the underground in a very. But the interesting fact about the Vodafone logo is that it's made off all only off perfect circles and ellipses. So every curve that you see on it is I don't know either an ellipse or a circle. So it's again one of those things, if you remember from last time. Um, on the first of March, when I was doing the pig of a illustration, I showed you that using the ellipses and circles at the best way of getting your curves looking really good and like, um, harmonious so you can see like that curve there is made of us an ellipse, and then you can also find that this other one would be also a segment of an ellipse. That one is a little bit more trickier to fit, but I think it's probably something, Um, I'm not going to waste time. I think it's It's an ellipse, but it has to be rotated so I can try my best if I try it again, see if I can fit it. No, actually, I would have to create the circle and then rotated, so it doesn't matter, but yeah, I'm sure you see my point. But then we come to the Pepsi logo, the current one on the top and the old one, and you can see the original one started off, and that's not actually even the original one. But that's the one in the eighties and nineties. I think they used it. Um, that's the one where we had the circle and the text in the middle, similarly to the underground logo. So again, you have a very good composition. And what I love about this old logo is not only the actual central part, but also the the closure on the left and the right, which creates a really nice bounding box for the whole thing. So know only that the circle is already strong, but it's also closed into this badge in a way which I think is a very powerful element, and I quite like the colors so you can see that, for example, because they used this dark blue and red, they could have decided to use the same two colors for the elements on the side, and they use the same red on left. But then he used the different blue on this on the right, and they would be interesting to find out why they decided to do that. But it just really works. So the combination of these three colors and the negative space or white space, I think is just really nicely done in comparison or contrary to the current one, which I just can't get used to steal is being around for quite long. But for me it still feels off, and I can't really relate to it. It just doesn't tell me anything. It doesn't give me anything. Um, I don't know what it's supposed to be. I mean, it can be waves. It can be, I don't know. It's just too abstract, and it's I don't know if it's just doesn't work for me. And maybe because thes curves are just not sat in a nice, harmonious way like what a phone is logo. On the other hand, it's similar complexity. So I would say, even less complex than that modern take on the Pepsi logo. But that still works. It's in balance. It is just the right thing. Um, why would this one? I just can't get to it or conga into it. I don't know what to look at. I don't know what you think Share Share with us what you think and what you see in it. You might actually help me to get to like it if if you point out something that I haven't noticed before Oh, yes. So even famous brands like Pepsi, um I know always nail the simplicity and at the same time, complexity off creating a circular logo. And just to wrap up, I wanted to talk a little bit about these less effective examples. I'm not seeing their bad logos, but they have flows. And one of the things that I would like to highlight here, And I'm just you're doing going to paint over these on a separate layer just to make it easier for you to follow while I'm doing so. What I would point out here is that when your text gets upside down and we are supposed to read it. That is really not convenient. So the international union didn't didn't didn't even fit, so they had to reduce it. But that's fine, because it's still easily legible this bit. But what's hard to read is the oil, and what I don't understand is why did they have to use such a big gap between the words, especially because we have already a comma there. So if the oil was moved further up than the and atomic workers could also come up further so we would end up having the taxed finishing probably around here and there, and that's still below the horizon. So what I would consider the nine and three o'clock rule is that you shouldn't go video text on the top below the three o'clock and send nine oclock points. All right, um, so you should keep your text above that, or at least close, like the chemicals steel okay, is just slightly overlapping. That's fine, but the oil is definitely upside down. That's not good. So there's something to bear in mind. I will just leave these notes here just so you can see it. And then, um, the other important thing to consider is that when you are using circular taxed, it's very likely that you will need to really adjust the Kernan between the letters. Otherwise, things like this happen when they completely clash on top of each other. Plus, also, you get turning, which, like here, is too close. And then here it's too big. Um, and I would be able to point out a few other points like this. One is every really weak sport. This is almost joining up. But then you have also supports where it's not spaced out enough. Um, the one on the left house of David Baseball doesn't much better job with current ing, although I would say unnecessarily, little bit too spaced out. But that's not a big problem. It would still do, would help a little bit off. Turning like this space here is a little bit too big, Um, and that's probably the only one that really stands out to me when I look at it. But what concerns me more on that one is that the actual outline off the bench? OK, that outline there is too close to the text, so the text doesn't have enough space to uh, to just breathe. Um, and that's why it's not a good design, I would say so. It's also there's reasons why, like, for example, the center bit is a bit off or like, we're, um, to have that huge I And then, um the hate and the and much smaller. And I'm not even sure what that I was supposed to be. Is that a baseball bat? Um or is it an eye? But what is what is an I doing in the house off David, Um, once again, I might be missing the point. And then there might be a reason why that is there. Ah, but for me, that's just a little bit overpowering. Wherever it is, it is too strong and dominant, but most importantly might. My problem here is that the text is too close to the edge and also the inner circle. So they are just not there. There's not enough space for them within the design 6. Day 4 - Blend Tool (Ai) #63/365: - Hello Everyone Issue me for me. Osama Designer, I hope you guys are well on on this tutorial. I will be walking through the design process behind this composition. I created this typography effect using the line tool blend Moyes on. Then I've used the clipping mosque so I've simply created a line pattern on I've clipped over a outline front. So in this case, as you can see, I've got the world winner in a pattern style on I've just duplicated the word and I feel the in this gives it a bit of a three d Look, I've decided to actually send the fill tax behind on have the lined effect typography on front of it. So I think that looks quite cool and gives it the over eighties. Feel I'm just enhancing the color slightly now to really make it pop and stand out. I really like that thing. That's quite cool. So once that's done, I'm just gonna move my clean the concert campus a bit so you can see clearly. So I am just going to create a triangle using the polygon tool on just simply Presti down our to change the size off the corners. Um, so yeah, I'm really happy with that. And then I'm gonna use those quote and then changed the fun to din on. Change it to upper case. I think then, as uppercase really works well and is still consistent with my main front main type of a few. So we once that's done, I'm just gonna just the triangle. And then I will, uh, used the scissors to to simply cuts out the line which goes over the text to just give it a bit of a clean look. I wanted to the same thing again. Click on the part you want to delete on another section and then press backspace on your keyboard to delete. So that's done. I think I'm quite happy with this, but I I will just refine the using the ruler just to make sure I'm quite a career. And everything is in line together again. Just using scissors to or just delete that what I want. I want to remove Andi just to clean up a bit. So once you are happy, just expand the part where you want the type to be placed on, then using the type to just click on the part. You want to include the word you have to use type on the path so that it follows a shape off the triangle on. I think I'm happy with this. And then I'm gonna make some final changes and tweaks. Then again, using the geometric style, I'm gonna place him a bit more off the triangle to give it a bit more life to the design on again. It's just all about treating, adjusting, making changes. You can change the colors at more text, anything that this is the fun part. When you're experimenting, there is no right or wrong way. Just go with the flow and see what works for you. So I really like that. Hasn't been over eighties geometric field tour Onda. I've just placed that into a jump or more cup. 7. Day 5 - Hand-drawn Sketches (Drawing) #64/365: - hi everyone assumed from in some a designer I hope you guys are well. If you haven't seen it already, please check out the time lapse video way. I show you how I create my Doreen's using adobe Droll, I tend to draw my sketches on paper fires where I then put into a doobie draw. I'm using it as a means trace and draw over them. For me, this is a simpler, easier process. I still wanted to give it a B off a hand drawn Look on, keep it quiet. Organic. So in this tutorial I will be going through the process off how I refined my illustration using Adobe Illustrator. I also show you how you can create simple patterns on also re color your illustrations. So let's get started. So these other elements I created using adobe Draw But you can directly draw in illustrator using the brush tool or blow brush. It works well. So first of all, what I've done is grouped all my elements together. I'm just to make a bit more clear on make The lately is a bit more cleaner. And then secondly, what I'm doing is using the smooth tour I'm refining the edges off the lines just to reduce the anchor points and give a bit more of a clean look. This can be TDs, but I think it's quite important to do that. So just so you get a bit more refined look. Secondly, you can use Pathfinder to combine your shapes. I personally you shape builder, where I have control over the elements that I want to combine together for this gaze. This works for me, but you can use Pathfinder whichever works for you. So at this stage, I am just going to refine all my elements again, using the smooth tour to smoothing out the edges on using either the Pathfinder or the shape Yoda. So once that's done, once you've cleaned out all your elements, you can put into a composition that works for you. At the moment, I am literally just playing around with them, moving the elements around, making the bigger change in the size. I'm just trying to create a pattern that I think it will work. So I think I'm almost gay in there, but I can see a little mistake, which is because I obviously didn't group this so this is why is very important to group your elements together so you can move them around again. I'm just It's no problem, but you can run into errors like this, which I am refining at the moment. So yes, I have grouped it, and now I can move them around, so that works well for me. So once that's done, what I tend to do is elect or them all of them together. And using the object panel, I choose the pattern option and make. So this is the illustrates a pattern maker option. Andi has so many features that you can choose from. There's agreed Brick by Royal column This is a really quickly to create simple pattern I really like. This is for me, is easier to use on. I have control over any style I want. So at the moment, I am just for refining their pattern. As you can see, outside the grid is the deemed version, so you can see how your pattern will actually look. This is the best way to refine your pattern and re size elements you want on. Once the stand, just click on done option and there you go Walla. Your pattern is added to your swatches, which you can simply put into a rectangle. Onda. You can also reside the scale off the pattern. Andi, you can also add the different background color on really play around on. Really see which works for you. Another option is you can double click on swatches and actually recall of the pattern using the week Allah Artwork feature. This is again a good way to Karim multiple color version off the same elements. I love this feature. I will highly recommend that you guys use a un create different color variation off your patterns. In this case, I am choosing a blue on. I really like it. 8. Day 6 - Using Frames (Id) #65/365: - today's session, we will be talking about how you can create interesting frames using in design rectangle frame tool, using the rectangle to you simply create a rectangle, create some stroke on, then using the yellow corner, which it click on it or click to change the shape of the corners again. Old click to change the shape of the corners. You can also change the sizing by dragging out on the, making it smaller or larger. Feel free to play around with these and see which option works for you. In this tutorial, I will be designing book covers and will be using elements such as rectangle. Strug's feel colors on off course images. So stick around and see the ways that I've applied the rectangle frame tool option. So, first of all, what I've done is simply inserted my image. So in this case, I will be using a illustration that I created yesterday. So at this case, what I've done is simply created a rectangle using Whitefield on black stroke. The rectangle is on the top layer of my composition, and what I'm going to do now is experiment with different corner shapes, different sizes, colors this is all part of the creative process is all about experimenting, playing around, trying out different colors, different composition, different size. Every creative goes is formally changes and you will notice on my time. Last I go to so many changes. I change colors. I change for one million times and an experiment with different effects. And again these things developed. Gradually. While you're working on a design, you can come up with really cool ideas. Ah, one thing can lead to another and and this is all part of the creative process. So the border that I've decided to go with is the one that slice on the edges on the right corner, on on the top, right corner on on the bottom, left for me. For me this works and I want to go with that is what I will do is duplicate the frame on, then create another color stroke just to give a bit of a cool effect. And again, I'm playing around with style. The colors I'm trying out different stroke options on. I also play around with a lot of different funds. I have decided to stick with the fund us more handwritten. I feel like that works best with the image. So once I'm happy with that, another effect that I want to try is to duplicate the actual rectangle on, put the corner points around the edges off my artwork. I think this would create a really cool book cover, look feel, and it creates a really nice border around the artwork. Personally, I feel like the book will really stand out the bookshelf. So I've decided to do another variation with different colors, as you can see obtained the color off the pattern. In this case I'm using Red on, I've decided to create the borders in red. Andi. I'm also going through endless funds now. For me, treating the fund is always a difficult day. I love funds and the love typography, and and I'm very fussy when they comes to find in the white one. But you tend to know when is my kind of works well together. What I'm going to do now is actually do another version where the border is actually one of the main elements, and the key thing you see in the book cover it's big. It's ascent of the image, and it really stands out on D. I think I would probably add a handwritten formed on. Then there you go. As you have seen my video, I go through so many changes, so many variations. So I mean different colors on this is all part of the creative process. Sometimes very frustrating. Someone's really exciting. But all in all, I think using the rectangle tool had really made the book cover really stand out. You can create amazing borders that can be used for book covers. You can use it as a sticker or a graphic element in editorial, so why not give it a go and see what you can come up with? Good luck. And I'll see you guys on the next video Bye for now. 9. Day 7 - Triadic Colours (Theory) #66/365: - Victoria was all about Try addict color palettes. Now these actually sound far more complicated to understand and create, and they actually offer. Hopefully, by the end of today's video, you'll understand a little bit more about what tried color part is on. How to start choosing your own color combinations in urine designs. So let's just quickly recap on what I tried. It cut. A pallet actually is, so they're made up off colors that are spaced evenly around the color wheel. Onda. A great and useful way to think of this when you're looking a color wheel is to visualize. A triangle is almost the three colors that you're choosing. Make the three points off a triangle, then usually you're pretty safe. It is good to check it. You could even draw on yourself in a program that illustrate or even prints off. Endure is a triangle on a piece of paper if you prefer. But yeah, that's the general rule of thumb toe. Watch out for usually tried it. Color palettes tend to be perfect for making things stand out because they're very vibrant . But you need to be careful and no use the colors to equally across the whole of the design . Otherwise, thes really bold colors will overwhelm the viewer. So let's check out some different design work, which used the's color palettes really well on effectively. So let's start with this classic illustration off Superman. Now this is actually a great example off, ah, color palette that is a very bright but again works very well because of the style of illustration. It's for a comic. Burkett's. For a superhero, everything's larger than life on. This is a perfect example of where tried that color schemes really come into their own. They were really attention grabbing, their exciting invigorating. They make you want to get involved, which is great, so great for projects that you want to make a real impact with. That you want someone to feel very emotional or motive about. It's important to remember that this isn't their only use. They can actually be toned right back down and used a lot in interior decoration. So this actually leads me nicely into my second example, which is a farm or relaxed and low key. Tried it color palette, but still a great example of how the three colors come really work together in a more relaxed way, but still to create a really engaging piece that does draw your eye. And this would look great as, ah, wallpaper and someone's living room, or even a print or piece of our again in someone's home office Or really, it could even be turned into a print to use on the T shirt except Chris, so you can see how try that color parts don't just have to be big and brash and bold. If you just used the color sparingly throughout a much larger design again like here, they haven't used it within every single element of the illustration they based out really evenly on. That's meant that it's not with bold or is bright to a viewer on its very pleasing to look at so actually works really well in this sense as well. So don't just feel like if you're creating more relaxed work you can't use tried, it comforts you. Can you just use them in a slightly different way? Eso. Let's just quickly and finally take a look at a big corporation. The uses a tried it color palette in its logo, so it's important to remember that It's not about just using these kind of colors on illustrative project. You'll see them in packaging. You'll see the logo's in editor or design on Web design. Thes color combinations have proven toe work and proven to look good together within the context of design, which is really useful and saved a lot of time for us as designers searching through loads of different color combinations that for some reason just don't quite fit. What we need is definitely something that is important to keep in mind when you're creating your designs. So let's take a quick look at one of the elements for my initial illustration. Now, this is a great example off how the mall of these little fun illustrations can be used in a more commercial sense. So here I've created just a fun little leaflet that could potentially be handed out for on an event that I have apparently decided host on the South Bank. It's not real, so definitely don't attend. But it's just a really good example of how such a just these three colors can have such a big impact, and this design really is meant to be attention grabbing. It's fun It's about baking and learning on enjoying cake. So it's really good to have a really vibrant, really fun co palette on. Actually, the colors that I went for really suit the style of illustration I decided to go for it was like a flat, very modern design. It's important to keep in mind that the colors that you choose when creating a try that color palette will affect the overall tone and feeling of a piece of design. So if you want something to feel very organic and natural, you don't want to be using this kind of palette where it's quite in your face and oversaturated. So just bear that in mind. When you're approaching creative projects, the colors you choose will have a big impact on overall tone, a message that the audience or take away, though that's about it for today. But I hope you found this tutorial really useful. And then you are feeling a little bit more confident in choosing your own tragic color palettes. So, yeah, hopefully you have a great day and I'll see you in the next one. Thanks 10. Day 8 - Pattern Brush (Ai) #67/365: - you can see on my screen. I curated a International Woman's Day wreath pattern design using illustrator brushes Option. If you haven't seen it already, please check out the one minute time lapse video where I explain step by step process on how you can create a floor brush pattern. As you can see on my screen, I have a black brush pattern which I created on. I will just briefly talk through how you can colorize it on how I created my composition using illustrator. So to colorize your price, you simply just double click on the brushes option on, then just select hue Shift on, then that should be it. And then now you deceptively et al play two strokes. So once I'm happy with the color off the wreath pattern, I will add in my word, which will be International Woman's Day, and I really want to enhance the world woman. So this is all about the creative process. Trying to find a composition that works. I am just playing around and going with the flow, trying out different fallen tiffin cases on different weight and trying to see which one I really like. And this is all about trial and error. Some things might know work. So in this case, as I want to emphasize the word woman, I decide to create a new technique where I long gate some corners off the letters. So if you use the direct selection toe or you have to do is select the anchor points using the arrow keys on the keyboard, you can change the with or the height off your outline tax. So in this case, I've decided to used the direct Selection two and just elongate some off the letters, which I think works well, like the M and the E and the W. They have really good, nice edges on that effect really works. I also wanted to create a fun, feminine look, so I've decided to use hot as a apostrophe on. I think that really works well. It adds a really cute, fun element to it. I'm just simply using the blob brush and just use in the mouse on creating the heart shape . I think that's quite cute. So I moved into the word day and again, I'm trying to find a phone that works for me. I go through so many forms. I'm just Sometimes I'm not happy with anything and can be quite frustrating at times. But it will get there. It takes a lot of time on. Like I said, this is all part off the great process. So I've decided to do now is duplicate my word on Send it to bag to give off a three D or a shadow look which I think we do works again. I've decided to re change the fond to give a bit more of a playful look. I'm changing the capsize to see what works. This is all about trial and error. I also play around with the tracking turning on DSI, which works. And finally I decided to add a strict border between the World day to really fill in the gap on. I think I am happy with that. So yeah, this is all part of the design process. You have to go through so many changes. Try different affects style, I hope, because enjoy their feel free to play around and create your own pattern flower wreath or any other pattern brushes on. Duh Have fun. I will see you guys in the next video. Bye for now 11. Day 9 - Portrait Illustration (ProCreate) #68/365: - Today we have an interesting topic that I would like to talk about. And although it was about painting a portrait in the hominid video, I would like to actually focus on a certain aspect off this painting. And it that is the choice off colors and also the choice off, like presentation or environment in with Invading, which I created the portrait. So I chose these splashes off colors. There's an artistic expression and something that I think gives it a bit off, more dynamic energy. And also, I felt like using this combination of colors worked really well with the poor tree, her skin tones and just in general, the field. That's what I felt when I looked at the picture off Lupita at the actress. Hopefully, you can recognize her. Um, it's not like a really long painting. I spent only probably an hour a little bit longer than that. Maybe, um, on a train journey. I was going, I think, somewhere up north in the UK, but yeah, so I was just doing this as a little exercise, an experiment, and it is interesting to see if I take off these colors, the splashes and maybe change the background color to white. How different immediately the portrait looks like, so it really matters what colors you choose. And, of course, the actual colors that we have on the poor tree is also sort of reflecting the colors off the environment, not completely. But I try to set them in the tones that I am going to use in the background. But if you watch the one minute video version, you will see that actually started off using something completely different color. So if I change the background color, I'm just using the hue saturation here in a photo shop. We can see that by changing the color, the whole mood and atmosphere off the painting will change so we can have a warmer tone in the background. And then immediately it looks different and there's lots of good choices. I mean, this color would really suit the painting as well. Um, that color, I'm not sure it's been overpowering, and the painting gets lost. Um, so whatever color you choose, it's will really ah, make or break your painting. So choosing that background color is important, but it is also important to use all the additional colors that you including the painting Vice Lee and well selected colors. Now, you might be thinking that I actually used, like rainbow colors, all kinds of colors There from pink Teoh, Turk wise Teoh yellows, Two reds. Um, but there is still a theme off colors. So if I start making changes to these colors, so I'm just going to sell like these layers together with the background layer, and I'm going to merge them together, Um or actually, I might need to include the reason why I will need Teoh change it together is I mean, I can't have this there and change these at the same time. Ah, unless I use an adjustment layer and just mosque a route, that's actually a way we can do it. Um, so if I just click on her, But even then it would be a bit tricky. So let me just simplify this a bit by moving these few lines that we had in front of her behind. And I'm just going to select these three and I'm going to merge them together for now just for this Sekoff. This experiment, they don't have to be in front of free will work the same way. If I start changing the hue off these colors at the same time, we will be able to see how they are all going to change and really again a fact. The mood of the painting. And of course, because we, as you were using Q saturation, some of these versions will look really veered because off the brushstrokes that we have, they at the end they just really like get veered. Um, but we can see that most off the versions that we will have with this combination will be an interesting but less effective, I would say left effective combination of colors. So when you see ah sorts of randomly selected choice of colors, there still some planning, and they're still some thinking behind it. The why I chose those colors and you will be able to learn more about colors from our videos like Emily is really good at explaining the different color themes and how they work , like the complementary colors, the triad, the colors and so on and so forth. So you will see tutorials from her coming up about color theory. Um, but generally, what I wanted to tell you in this tutorial is that, ah, feel free to experiment with colors. Don't be shy about doing strange combinations of colors because all you need to pay attention to is to have and the fact have a powerful impactful and result. And if that impact you achieve with a strange combination of colors, then that's fine. I mean, as long as you feel like it's working, and then law, as long as you find it, um pleasing, then feel free to use those colors. So, um, it's like applies to everything asl Long as you know the rules, um, they are just there to break them. So once you understand why certain colors work together, then you can try to push those boundaries and come up with with the unique and and strange combinations. Love to see a few takes on seeing different color combinations, and you don't necessarily need to use my my layers. So the two layers that I created you can take off and instead create your own layers, which could be just flashes off pain. Or you can also introduce something else. Um, whatever you feel like, we'll work like geometric shapes or come up with some other elements that will make this portray more interesting. So Ah, yes. The PSD is there for you to play around with and then share your end results with us here. So thanks a lot for joining and tuning in, and I will see you guys in the next one. 12. Day 10 - Vectorising Hand Lettering (Adobe Draw) #69/365: - in this session, I will be talking about how I practice arise. My handler, Teran, if you have is in the time lapse video, please check out my process whereby I insert my sketches into adobe draw up and I trace over the image. Creating organic hand lettering phone can really enhance your work. In this case, I wanted to create a hand literary phone that gives that organic farmers market feel. I think that works really well. I think this composition works really well with the both Santerre front. So, as you can see on my screen, I have a victory ized version off my hand lettering front, which I created using adobe draw up. If you don't have the APP, you can use a blob brush or the brush option in Illustrator, One of the key tools in vector rising your phone is using the shape builder tool, say builder To is a great way to unite all anchor points together and create one solely shape. So in this case, I am using the shape Bilde on literally dragging the cursor over the shape builder tool can be quite tedious, but I think it's a really good way to really unite small elements together. You can use path, find up, but personally, I have used shape Yoda. Another important tool is smooth, too. It's a great way to clean up your vectors on a great way to create smooth lines, as you can see. For my example, the eighties off my phones are not smooth, so the smooth allows me to rush through the letters for the ankle lines, and then, naturally, it will reduce. The anchor points on Illustrator will smooth out the edges for you. Once you have cleaned up your tax, you can experiment with different colors and see which style works for you. I really like the re color option as it allows me to scroll through different color options tried to for use saturation in one go, however, you can use thes watches option to colorize the text, whichever you prefer. Once you are happy with the tax, you can also duplicate here. Add if stroke behind their break up the worst together. What I also like is experimenting with the blow brushes on, directly adding graphic elements and swells, so nothing that gives a really cool composition. So there you go. I think I'm happy with my type of a fee again, as I mentioned earlier Iran. Once we have a sketch you can smoothing out in Demonstrator, you can add to a using the blob brush on. You can duplicate it, change the color and the baby off a three d look. The choices are unless and it's a really great way to create custom hand Veteran. How fun Play around and see how you guys get on. I'll see you guys on the next with you. Bye for now. 13. Day 11 - Simple Grid (Theory) #70/365: - today's tutorial was all about grids and guides. Now it should. You have to set up a simple two column grit, which is great. It's a great way to get started in an introduction to Grids in general today, I'm going to talk a little bit more about what makes up a grid, which we started to explore a little bit in the one minute video. So I'm just gonna expand a bit on a few of the terms that you might have seen during the video. I might not be as familiar with So First of all, let's talk about margins. You know, margins are this pink line that runs along the outside of your document. So, as you probably saw, you can change these in layout on margins of columns. Now your margins could be linked together with this button, which is really helpful because generally you probably will want to have an equal margin space around the outside of the whole of document to change your margin, to just go up or done so. It's really easy to access on. Change your margins within in design, so once you have a margin set up, you want to know exactly why you should be using and how to use it. So let's just quickly go into that margins really useful because, firstly, they create almost like a container fuel elements to sit within on. This stops them from getting too close to the edge of the page. So, like here, if I put this just a pit, um on, then preview it, you can see that it feels a little bit uncomfortable, especially if this were this project were to go to print because the closer that your element is the edge of the page, the more chance that it might accidentally get chopped off a little bit, which obviously wouldn't very professional. And it's something you definitely want to avoid as a designer. So they're perfect for being able to give your design more structure. Andi, to keep all of your elements within a certain area of the page. Now it's important to remember that you don't have to always just work within these margins . There are times where it looks good toe work outside of them, for example, you might want to take one of these elements. Andi, just make it really big, so it starts to come off the page slightly. Now that's absolutely fine. You shouldn't feel like that breaks any kind of rules because you purposefully wanted element bleed off of the page on its a design decision that you've made. So that's absolutely fine. These are a great guide, but at the end of the day, it's your composition on. You should experiment with what you think will look good, what feels right. So that's a little bit more about margins and how to use margins. I won't going to loads of details, so let's quickly move on to a little bit more about columns so you can have as many columns as you want really within your layout. Now, the more columns you add, the more complex your grid system is gonna be to follow. As you can see now, Now I've added some more columns in this text is actually working in the gutter, which is something we don't want. We want it to line up to the grid, so I would have to make alterations to my design because I've changed my grid so it's always good to have your grades out first and then design onto your grid on something toe watch out for is just not to start by making really complicated grids. Just using a two or four column. There's absolutely nothing wrong with that on. Actually, you can have too much of a structure within your grid system. On it will start forcing you to work in a certain way that you might not necessarily want to. So hopefully that's giving you a little bit more information about some of the terms you might have come across in the video There really about helping you structure your designs on your Laos in in designs. So let's just take a quick look at one of the examples that I found on. I feel like this is a really good example off a simple grid system that's been used really effectively. Now you can see because of the layout of the text where they placed the columns on on. It works really well because the information is laid out clearly is easy to read, but it doesn't appear too boring on, especially when you're using bright colors, you don't want to then put a complex grid on top of that. It just makes it really confusing for a viewer. So I think this design has done a really good job of getting a balance between an interesting grid on a brightly colored design. On it looks fantastic is a piece of editorial work, so that's a really good example. And let's move on and have a quick look. At my second example, I wanted to include this because it's a great example of how grids can help you structure a large amount of information. Sometimes as a designer you'll get a brief, which can seem quite intimidating because you need to put, say, three day schedule into, you know, a three page booklet on this is where grids really come in and start helping us as designers and saving us time. Because once you have a system in place that you can work, it makes it easy to input that information on structure it so a viewer can navigate it easily on at the end of the day. That's the most important thing, really, is that your designs are easy to navigate on. The information is easy to digest, so I think this is a really good example off. A lot of information condensed really well into quite assumed format will just finish off on my final results. So this is a quite simple business card design. It uses the grid. It lines assets up nicely and could actually easily be applied across a whole set of branding objects. Say a letterhead, a leaf lor. Even you could even movinto online space on building a website with a two column grid. So it can really help build a structure and a system for your design work, especially if you're working something on like a branding project where you want everything to look nice and consistent. So hopefully this was helpful on give you a little bit more insight into grids on how to use them. Hope you have a great day on. I'll see you in the next one. Cool, thanks, guys. 14. Day 12 - Align and Distribute Panel (Ai) #71/265: - Hey , guys, how are you? Welcome back today we will be talking about the airline and distribute features, but I wanted to talk a little bit more in depth about just generally working precisely in adobe applications. So when it comes to aligning and distributing your objects, you most likely want to keep them, um, in an organized way. And apart from using this feature, there's actually a couple of other ways off making sure that things are aligned and nicely precisely, um, distributed in your in your document and creating a good layout. So what I would like to show you, first of all, is no matter which application you are ending by the it's illustrator in design or for the shop, these features will be the same. So first of all, the shortcut that's worth remember is remembering is, ah, command are or control R with which you can turn on the rulers. So once the rulers are on, you can right click on them and choose what measurement you would like to work with. So I have it at the moment, um, pixels. But I can set it to millimeters and you will see that it updates straight away. Now it's good to know that by default, the measurement always starts from the top left corner of your art board or document or page, and that's the default everywhere. But you can change that. So that zero point up here and if I want to change the origin off that point from where the measurement starts, I can just drag that center point in the section off those two rulers and set it up anyway . I like even on the top left corner off this stamp, so if I place it there now, you see the zero points will be aligned to that point, and anything measured will be measured from that point. So if I wanted from the top left corner off that stamp to calculate 100 millimeters, for example, now I know exactly that is going to be here. When I'm moving things around, I can set them to a certain distance by having it selected and then coming up to the options bar and changing the X value So the X value is the horizontal axis. And if I change that 200 millimeters, it was sent Whatever reference point you have to that exact point in the art board. So at the moment, the center point is my reference point. But if I use the left edge, either Topol any off these left edges and now I type in 100 again, you will see immediately. Now I know exactly that. There is 100 millimeter distance between the left edge off the big band stamp and the one that we have selected here. So that's the distance now. Exactly 100 millimeters. Of course, there's many other ways of measuring things and distances, but I just wanted to point out that you can change the origin off your rulers, and if you want to set them back, just double click on the origin point again, and then they will go back to the top left corner. So that's worth remembering when you want work precisely. There's also another important feature, working with guides and guys you can place on your art boards By dragging them out from the rulers. You can drag guides out both from top and bottom, so it both from top and left side. But if you drag out a vertical ruler from the left, so a vertical guide from the left, you can hold down the altar option key and still swap it around into the other direction. So if it was originally vertical, it can become horizontal and vice versa. So old or option key will change the direction of it. So once you have your guides in place, you can start aligning things to the guides. So it's simply just going to snap through those guides, and I can align my objects easily, like you can see here as well. To the left, I can easily align that one as well, so on so forth. So working with guys is always useful, and it will help you. But another way off aligning things would be to use the grid. Now the great you can find in the view menu, and you can turn it on by using the show greed option. There is the short cut as well. If you want to use that, and the grid might not be easy to see at the moment. But if I turn off my background color, you will see it much better Now. The Greek can be adjusted in the preferences, so if I go into the guides and greed option. That's where I can change subdivisions and the guidelines increment. So if I needed them to be bigger or smaller, that's where I can change it. And it's important to also mention that if you are working with the grid, you should have the view option snapped to greed on, because that will help you to again use that greed and try to align your objects to the grid. So there's so many different ways you can see toe work precisely and the apart from using the align and distribute options. And I haven't even mentioned the smart guides, which you will find again in the view menu, and a shortcut is Kommando control you? A smart guides are just automatic alignment technique to align objects to each other. So whenever you're moving things around these purple lines, when they are appearing, they are the smart guides, and they help you to move things and align them to each other and again is the same in all of the adobe applications. You will see them coming up. All right, so that's all for today. I hope you found this useful and I will see you guys in the next one 15. Day 13 - Brush Smoothing (Ps) #72/365: - Hey , guys, welcome back. Today we are talking about brush smoothing in Photo shop CC 2018. It's only available in this latest version. It was one off the best new features they introduced, and I love it to bits. I use it all the time whenever I want to achieve certain drawing styles. So this is great for people who don't use tablets like drawing tablets. Um, and you want to work with a mouse, but it still can be used together with the tablet, and it can help. But just to show how useful it can be for people with only a mouse to do Han drawings digitally, I'm going to demonstrated using the mouse, and I'm going to show you a simple and a little bit more complex image that I'm going to trace over. So I would normally not trace images when I'm drawing because I like to study something and I try my best to get and captured the details by just looking at a reference and then draw separately on paper or on the iPad or wherever, but ah, to achieve certain styles like a simple line drawing. This might be a fast and easy way to go and especially if you are not needed to create a vector drawing. Um, that way you can use and rely Ah, the brush moving rely on the brush moving in for the show. Now, of course, if you create your simple Leinart in photo shop in a fairly high resolution, you can easily fact arise that in illustrator afterwards. So the reason why I would do this in Fort the shop is because even though illustrator has the smooth tool to smooth your vector lines out, um, I'm actually feeling better doing this in photo shop now that they have the smoothing introduced because it can be fine tuned much more nicely. So you can really decide what type off smoothing you prefer. But without me talking too much about that, let me just show you this in action. So I'm going to turn off the rose for now, and I'm going to use this image of the cactus. Schumi would be very happy, as she will be very happy to see this example. She loves CAC Ty, so I'm going to use separately and you can see a reduced capacity by just pressing number two. I've said the layers transparency rapacity to 20% and now I'm going to work with 100% smoothing with no poured string mood turned on at the moment. So these are the settings amusing I use and simple circular brush tip and nothing special, apart from having the smoothing craned up all the way to 100%. So just to show you without smoothing, by the way, that's a fast way of changing the value, the smoothing value and any values in for the shop, By the way, so you just click and drag on the word itself instead of going through the dialogue. I never go there because it's just much faster doing it this way. So setting it to 0% if I would too drew over this shape. Ah, because I'm struggling with my mouth. You will see how wonky this will be, which again you can consider that to be the style if you want to go for a bit more wonky illustration, but that's not really what I want. I'm going to actually reduce sidedly my brush size as well, and let's see the smoothing set to 100% so I'm going to start drawing over these shapes and you can see already how much nicer my like my lines can be and how closely I can follow these lines. Now. Of course, it's still not perfect, but that's not the point. I wanted to get a natural ah Han drone quality to it, but without it looking rubbish. So sorry. I just have to concentrate while growing. This not really used to drawing with the mouse. But since we have this moving, smoothing feature, I actually feel like I can fairly confidently draw using the mouse as well, because it fixes all those little imperfections that I would normally get all big imperfections, sometimes by drawing with a mouse. So you might be thinking, Why am I crazy when I have a sin teak and I'm drawing with the mouse? As I said, this looks different to the way I would draw. So it's similar to artists who would have so many different tools. Um, there's always a use for all of your tool. So by having a sin, teak and into us, and iPad probably doesn't mean that I wouldn't use my mouth, I would use it for certain things that I feel like it's best suited for and forgetting that Han drone caught quality while having still a nice outlines digitally. I think this is actually a quiet, cool technique and that you can see how nicely I can trace over details like this. And then I would be able to turn off the image. And you can see already we start to get there the details. Right. So let me show you with the Rose example again, I'm going to reduce the A pass ity on that, and I'm going to go back to this layer and start drawing over there. So what is that option? The port string mode? I tried to explain it in the example in the vomit video, but I'm going to show you again here. So depending on the signs off the amount off smoothing you're using you will get a big, like boundary around your brush, and I'm going to reduce the smoothing now so you can see it's a bit closer. So as long as you are moving your mouse within that saves own, we can call it You're not actually going to drop, so your your circle keeps within the circle. You're not drawing anywhere when you reach the outside perimeter off that circle. That's when the drawing begins. Now, why is this better than using normally the smoothing? The good thing about this is that it feel tears out even more off those unnecessary movements that you are doing. So as long as you are in that safe zone, you're not going to make any mistakes. Plus, I find this morn much easier if I need to do sharp turns and, like abrupt changes in my line. So, for example, form or sharper lines like these, this is better for more curved results. The other version was probably easier. So let me just show you this with the road was I'm going to zoom closer so we can see it better, and I'm going to start drawing here. So I was start growing around this shape, and then there, you see, because we have a sharp turn, I come back instead of trying to go around the edge, I move my brush back, and then I find the right angle that I need and then keep going in that direction. And again, once I reach a point that. I know that I need a sharp turn. I just come back into the safe zone and then venture to the perimeter. Once I feel confident that is going in the right angle. Now, of course, you don't need to stress too much. You can always let go and create a new line. But I'm just trying to show you that even a more complex line like this I could do in one go by using the port string mode. So once again, it is up to you how you use this technique and whether you actually find this useful or you would prefer to trace things with the pentacle. There's no better off verse, way off doing things. Everything has a use. And that's what I always say. Like when there's a new feature in to use. Your task is to explore and and really discover vase off, implementing that feature into your work flows, and I find myself actually using smoothing quite a lot. When I first saw it, I was like, Why do I need this? I I can just draw with my tablet. But then I realized that actually, this might be good with a mouse and ah, it creates a completely different style, so I can actually use it for something else. Um, not to replicate what I can already do it. Another tool. Okay, so that's just a little bit off. More explanation or vice brush moving is useful in for the shop hopeful you found this useful. And I would love to see a few examples that you do yourself. So find a photograph. Try to find something not too complicated at first because you might find it hard to get through something like a simple object. You can take a picture off. Um, you can even do a portrait if you want. But as I said, it might be a bit tricky First to practice on something as complex Is that Ah, but you have find something traces over and be creative. You can obviously start off using brush moving, but then you can combine it typography. You can also act arise. The final result, like this one here that I created these lines, I could easily take it into illustrator. So I'm just jump into illustrator and I'm going to create a new document. Okay, so let's just drag and drop these in here. And then if I go into image, trace is going to fact arise it for me. So then all I have to do is to expand that were. Actually one thing I would normally do is to remove the oath, turn on the ignore right option that way. Divide details are not being factories, so there's no need to get them and then expand. So that's just a quick Veii off fact arising the lines that you created in photo shop and because of using the brush moving, they will look really nice and sharp and crisp, Um, and not too wonky. But the actual tracing adds to it a little bit. So some details might look a little bit even more crooked, which I think, actually makes it look cool. So sometimes the tracing itself might help to improve the artwork and off course. It will make it resolution independent, which is great. Okay, so that's all. And thanks a lot for watching 16. Day 14 - Banner Design (Adobe Spark) #73/365: - Hey , guys, Welcome back. Today I will show you Adobe Spark and the In the Vomited video. You've already seen a bit of it how to create banners. But spark is actually an amazing feature or service, and it's actually free. So even if you don't have creative cloud license, you can still use it for free. There's only a few additional things that you can do if you have the license as well, like leading brands or working with brands with the spark features. So I will show you that in a second. But first of all, I just wanted to point out that you have these three options creating posts, pages and videos, and all of them are really cool and easy to use. Um, I personally mainly use spark for creating lending pages or micro sites for simple things, and even to present an idea. So here is one that I just created recently I can show you maybe this one. Ah, it's about the of workflow that I worked together on with Alma. We created also, of course, about character illustration. So to present the workflow itself, I created this page and I will show you how it looks, the final version of it. So this was a well built in spark, and it took me around an hour to do it. So you will see that it's a very clean and well designed page with nice visuals and really smooth, easy interactions or animations. So we have the parallax effect off the image, moving at the different space or speed. Also the tax donate, the caption moving at a different speed, and then things that appear within animation like that text at the bottom as you can see it and that obviously you can videos in their videos, by the way, that you can create within, um, spark as well. So you can add music and you can dream and caught your videos together. So it is a very neat feature, and it's great for presenting your ideas in a nice former like this, and the best thing about it is that it's fully responsive as well. So if I start changing the size of my, uh, my browser, you can see the way it's going to change everything within this former and is going to realign the content to whoever device I'm using. So it's fully responsive. It uses the parallax effect, and it's extremely easy to put together so you don't have to do and according and anything can be changed at any time or the Texas selectable, you can move things around. You can select the image in the background, replace it with whatever you want and so on and so forth. So it's really useful and easy to work with it. And the similarly the way I showed you in the war minuto. Really. You can work on banners as well, and spark has this automatic readjustment or scaling feature when you have elements that you have on your banner. For example, this one. If I want to change the actual layout and use a different format, so a square format, the elements that you have here will automatically change and reapply themselves for that new format. If I go into a landscape format again, we will get a differently out. And of course we can change that. So if we are not happy about the way it is, then we can move things around easily. But this is what they call magic layouts, automatically updating and then another cool thing is about funds and design on tax, for example. Again, you have options to change that. So, for example, here, if I have have that tax selected and I go into a palette, I think it is north serene. The tax option. Ah, I can change the style by just simply rotating that slider around, and it will keep giving me different options that I can work with. So it's like again, um, gives me ideas without me having to go through and finding funds is just that, Like a quick skim through of all kinds of different Renda m'lee generated formatting that might lead to something that I didn't even think about, like this might look much better than the original one. So these type of features that you have in spark that's obviously much more user friendly and intuitive than having to go through all that settings in illustrator or for the show. And the cool thing is that even though it seems like a very amateur type of thing to use, I would say, is a creative professional that it is inspiring to see it so once again anything that you find, um, useful. It doesn't mean that you are degrading your work. It's just giving you extra options or different approaches to the same thing that you would normally do. So even as a creative professional, I would use spark even for creating simple social media media post images because it's just a really fast way of doing it, especially because I don't really need to do much mutations or I don't have to worry about , like creating all kinds of different formats once I have a format and I I'm happy with it. I can always go through the layout options and just save them out. So I download the one that I'm using right now than when I need again square format. I just go to that one. Save it. If I want to update anything, I do that. And then I called to the portrait format and so on and so forth so you can see like here. If I needed to update the design, I could easily do that and have a completely reformatted version off this as quickly as that. So literally a few clicks and then immediately I've got the former that I needed. So, um, I highly recommend to test it out for all of the features, post page and video. And as I mentioned earlier, there is this option as we're called ad brand, where you can actually create brand templates and these templates you can reuse. The only thing you need is a logo, a brand color, and the front and you see automatically will generate everything based on that palette or SS that you add. So it will make it much easier to create anything once you have a brand. So when I go to Nexon, I call this one adobe and then say Make friend magic is going to start generating all kinds of different things. Did that set up? So it's going to give me posts. Video formatting is going to give me a page as well, and I just need to add the content in and change anything that I need. So this feature, the brand option would only be available if you have the CC license and you logon. So you probably noticed that I'm looked in, um, which you don't need to do as long as you don't need the brand feature. So all the other options you can use without the creative Kyle license, which means it's completely free. So I highly recommend to check it out. And that's all I wanted to show, really. So it's just to draw your attention to checking out Spark, and I know it's going to improve. So there's a lot of new features they have ringing to spark, and you might actually see some off the technology that they develop here. In the other applications I fought to Chopin illustrator and in design in the future, so it's worth worth having a look at them for sure. So thanks a lot for your attention and I will see you guys in the next one goodbye for now . 17. Day 15 - Custom Type (Ai) #74/365: - So in this tutorial, I am just going to walk through my work in prices on how I came up with this composition. So once you have extended ANC point, you can create some really cool effect. This is a great way to use a free phoned and create really cool type effect. So once are really and queens, I am ready to start designing. So now I'm just experimenting with adding rotation, giving a bit of a adventurous fun law also have duplicated my characters and created a shadow effort again. Here I am experimenting with different colors to create your own texture. You simply just have a solid layer Go to filter Onda like noise. And here you can changed the amount that you want. And then once you're happy, you can reduce the opacity and added to your artwork to create a really cool, rustic effect. I hope you guys enjoy the session. I will see you guys on the next video 18. Day 16 -Selecting Hair (Ps) #75/365: - guys , welcome back Today it's all about selecting hair. So this is the probably most difficult detail that you ever have to deal with when you're making selections. Of course, there's other intricate details on images that might be difficult, but the most common one is definitely hair or anything similar to her. We normally call these details soft selections or soft edges because there's not like a hard edge detail that you can really define. So most objects would have hard edges, and even people would have hard edges when you are selecting clothes and even skin. But once you get to hair, beard and hair and also in animals that for is really tricky. That's what we call soft selection or soft edges. So most of the time you would have to treat complex selections into parts or ah, two stages. The first stage would be to get the hard edges done. So in this tutorial I'm going to show you a selection and fairly complex election, and I will try to simplify the steps without going too much into detail. So when you do hard edge selection, I would normally start with the Chantel and just trace around the edges. So I'm not going to spend too much time and try to be super like, precise. I'm just going to do it quickly, and what I would normally do is once I have the hard edge detail in place, I would just go very roughly around the edges on the soft selection part. And then once I get back again on the hard edges, I will just be more cautious while I'm doing there. I'm going to just go around the eyelash that's against off selection lead there. They're similar to hair, and then I'm just going to go around here now. I would normally off course zoo much closer, and I would work like that. I'm just going to ignore the eerie in for now. We're not going to spend too much time on this, but yes, so we have our selection and reason I chose this image. Um, this is something, by the way. I show in much more detail in the photo shop masterclass. The same example. The reason I chose this because it has a fairly complex background. Even though it's out off focus, it has very bright details near the hair, which is confusing. I mean, it's confuses photo shop, so it's makes it hard for it automatically separated from the background, even though we can see the difference in terms of colors, it's very similar and also it has a very strong green, which is contrast into the hair. But again, it's a problem that it starts to seep into the hair when you make your selection. So it's hard to feel around that color. So you see exactly what I'm going to do here. I'm going to turn this selection. By the way, I was using the panto with the path mood. I will turn this into a vector mosque, so that's the first stage that's command. Clicking on the mosque I icon, you will get your vector mask, and if I put rightly your underneath this, we can already see that is starting to look better. But then the next step that we need to do is to have that Lior selected that we created just going to drag it out of it. You see, we have already the Vector Mosque, but you can also add the pixel mosque here now for the Pixel Mosque. When I am going to do is to have the whole thing selected. Okay, that's command clicking on the existing selection at back tomorrow selection. And then I go to the select menu and choose Select and mosque Que as simple as that. Then here, within selector mosque. I can hold down the both key, and I can start removing all those unnecessary details. And don't worry if it gets lost like that, because by just simply drawing it back, it will add those details back again. And we get pretty much old the details back until you again, starting to using more from the original background, which again just holding that all that you can remove. But you don't have to worry too much about this because then you would switch to the next tool, which is the refine edge tool. And with this one, you draw around the edges again and you've seen me doing the same thing in the nominee tutorial. But obviously there it was a little bit compressed and less detailed. Ah, the explanation what I was doing. So once you do the refined edge detail, you can have a look at your actual mosque, which is going to look like this and you can decide whether you need to make any further adjustments or this is actually going to work for what you need to do now. At this point, we can always decide that we need to show a bit more details off the hair on certain areas . And in that case, where you can do is to reduce the amount off the refining brush and holding down the old key. It can again reduce the amount off that selection. So from the inside out, you see what I'm doing. I'm trying to make sure that we have a good edge selection on the hair all around. So I'm removing all these unnecessary details inside by holding down the both key, and then it should get them back and again here. If I hold down the old key, it might be able to find the edges, or it might not. It's actually not that easy. That detail. That's probably the most complicated detail here off this selection. So as you can see, it's actually finding the opposite details, not the ones that I need. So that's probably the most complicated one there. But I'm going to just click save this into a layer mosque. So here at the bottom, Jews output to layer mosque and then I click. OK, that will save it, and the layer mosque can be adjusted. If I oath click on it, we can see the mosque itself. And what I'm using are the shed at the Dodge and burn tools, the burn tool set to shadows and the Dodge Tool such set to highlights each amusing around 20% exposure. And with that one, I can filter out any details that I don't need. So all these blobs that we have from the background can very quickly be filtered out. As you can see, it's a little like burns it of a the unnecessary details. Um, all these clouds. If I go over it, enough times can be removed. Or you can also use the brush tool and just paint with black on those sections where it's easier. And then using the Dodge Tool, you are doing the same thing. But set to highlights mood. You can brighten up any bride details to make sure that they're not see through, because anything that's in the mosque is gray. It's semi transparent, so it starts to be see through and you want to avoid that so you can see with the Dodge and burn family quickly. I could refine this, um selection. I'm just going to use the brush tool a little bit around here because I think this needs to be completely filled with white, and that needs to be black. So there you go. That's friendly. Better if we look at this selection, it's Ah, maybe on black background. We can see it better that it's actually there, really, with job on the hair, for example, here and there. But this bit is still messed up. Now, this is when you have to rely on manual improvements because this part is very difficult to get right. So I'm just going to show you if I draw on the Pixel Mosque, which we use for the soft edge selection. Ah, we can re meet reveal exactly what we had here. Now you could try to use the brush tool and just paint over and try to feel throughout these details. So to tackle these most difficult details, I would normally rely on custom brush. It's so not the simple brush that I'm using here to get an edge that looks really sharp and crisp but actually create custom brushes. Ah, using the brush tool. If you have custom brushes like this one, I'm just going to show you one that I have for hair. Um, essentially the vadis looks is if I just paint with white on a separately or we will see how this looks like. So that's how it looks, the brush itself. Maybe if I used my mouse, you can see it. So you just drew a couple of dots are usually on a vita canvas with black brush. You just put a couple of those down. Make a selection off that so normally it would be the opposite. So black dots on white background and then you define that as a brush preset, and once you have it saved as a brush, then the following settings is what you need in the brush settings. You want to make sure that the spacing is that the 1% and then you probably want to. Also said the color dynamics to be controlled by the pen pressures or another color dynamics. The transfer, to be controlled by pen pressure and Shave Dynamics, also controlled by Pam Pressure. And what that means is that when I'm drawing using the tablet and for these type of things , it's best to have a tablet to work with. So having harder pressed on the tablet, I can ADM. Or visibility and also bigger and thicker lines. Well, I'm also using in the brush settings. Which is important are the color dynamics, which I said to complete random foreground background colors. So what I would do using this technique, I'm just going to show it to you. Here on the top detail is to select two colors so so, like one color to be the brighter color and the other one to be the darker color. And then, with these two, maybe even brighter one like that. With these two, I can start drawing. And what will happen is that as soon as I start drawing these details, you start seeing similar detail to hair, but it's actually fake, so it's not not the details that we had there, but it builds up a fairly realistic edge detail there, and then I would just very an old clicking. I would pick up different colors from the hair so just very a little bit, um, and build up a bit off texture here on then go over it again and so on so forth. So you can see that that starts to look realistic. But what makes it more realistic is one size, which to my other had brushes like the single headline with which I'm going to do exactly the same but singular air lines and the hair is never perfect. So that would be always the stray headlines. Something like that. And I would actually go over the details where it looks more realistic as well. And I would draw from the inside out so you can see once you build up a little bit of volume drawing with just a single line, you can actually create a quite nice and realistic effect. So without this layer, what I was doing here, this is how my edge looks horrible. And then with a little bit of work, I e. C. I didn't do much here, but with a little bit of work that looks already so much better. And even if I said the background Teoh, let's say white, it will stand and it will look quite realistic. So that's it. Simple technique, but very effective. Unfortunately, with the mouse, it would be a struggle. So for these type of things, it's best to get a tablet either and into also are synthetic. But a simple, cheaper into established or even other pan tablets would work. So I hope you found this useful. This was a little bit more technical tutorial. And, um, I hope you guys will join us next time. Until then, have fun with the techniques that I showed you today. So thanks again. See you next time. 19. Day 17 - Face-aware Liquify (Ps) #76/365: - Hey , guys, welcome back. Today we will be looking at a cool feature that was recently introduced into photo shop. Is the face ever liquefy now? We had the liquefy filter for quite a long time, and I was really excited to see this introduced because I've actually seen it being already used in photo shop Fix, which is a bit like the light version off the retouching techniques that you have in 40 show. But you can use them on your phones and tablets. It's worth checking out if you haven't tried it already, and we are going to show it in a few off these videos, hearing the 3 65 Siri's but the face of liquefy, something that once I first seen it, I always do tested it out on people. But then I am always excited to push the new technologies and find out whether they work on different things like you've seen in the one minute video. I was testing it out on ah drawing, so I just did a portrait drawing quickly, and I tested it out. Whether I can change, um, the features off the drawing and also like to change the mood she was a bit like moody, and the night turned her into a bit happier. And I think it worked quite well without any visible distortions. Um, I think it did a really good job, but here in this video, I'm going to take it one step further and instead of drawings, would try the feature on statues. So I have a few examples here that I'm going to go through. And I have, ah, interesting example to finish on. So make sure you watch it all the way to the end. So the 1st 1 is this statue and I'm just going to go through quickly filter liquefied. By the way, always whenever you use the feature, you should first turn it into a smart filter. I mean, turned leering the smart object by using convert for smart filters and then use liquefied because that way, or the changes that you do will be non destructive. So when you open up liquefied and you see in the face of a liquefied area that there is a face recognized, then you're fine. You know that you can then do the changes. So for the shop needs to recognize the face. And that's the key. So sometimes a statue of drawing can be to obscure or abstract for the the filter to recognize the face and I've even signed. I found a few photographs where the face were the face of Fae ces were not recognizable. But it's good to know that if there's more faces or if there's more people in the picture and recognizable, then ah, there will be more faces to choose from, so you can actually do multiple faces as well in the same image. Um, I'm not going to spend too much time in here because you see how this feature works. Ah, I'm just going to show you something funny if I change the mouth height. It's almost like the statute to looking so just messing around here. But you can see how cool the feature Rex. And of course I can change, or the features that you would normally change. We can changing hide, Joe line and so on so forth. He looks like he's pelting now. Ah, we can change the face with and yeah, I mean is the same thing. So I'm not even going to spend too much time here If I press OK or accept all these changes , I can show you before and after these few changes that I've done. So let's move on to the next example. And I wanted to show you specifically because you don't always have to have the face completely straight on. You probably noticed that also in my womanly tutorial that I did a side view so are like 2/3 not ah, straight on version. Um, so it works well with these angles as well. And I'm just going to quickly show you this, that we can turn this man and making much happier by adding a smile there. And maybe when someone smiling, usually the eyes are getting smaller and especially the height can be reduced. So something like that, he looks much more relaxed and chilled. Um, no. Maybe we can change the July in a bit. Something like that. Um, it looks quite sad and, like thin his face. Or let's make him a bit more like, well, fat, something like that. So again, we can see before and after. So I just wanted to show you that it works again with statue even on an angle and the next example is quite scary. One. It's just just the very old statue, but, ah, because of the high contrast and because of it being black and white. It's a little bit depressing this photograph and statue. But the reason I'm showing this to you is just show that when you have very distinct, like damages or scars on the statue. Ah, it might make it difficult for photo shopped to records. Recognize the facial features. So if I go into the filter menu and choose liquefy, you will see that there's no face detected. But as soon as I use, like the sport healing brush tool and try to get rid off a few of these damages on the forehead that's tested now, so if I go back to liquefy, it's do you know finding it. So we probably need to get rid off this other big one here, and it might be the Chine area that is the most problematic, so it might not find the lips, but let's check. Just check it again, so liquefy. And there you go, so you can see once I fix those two areas, it comes up straight away and it recognize the face, and I would be able to again change or the features as normal. Now the last example is probably the most interesting. One is going back to the illustration or painting this time, and it's always the famous painting. The self portrayal of Vincent Lango example here shows that if I used the original layer, which has the background and the image as well, if I use that the fielder, um liquefy AIDS going Teoh not recognize the face again, so no faces detected. But once I isolate the person from the background, so once we incent is on its on his own and not even the background, then Vidal. Any changes immediately recognized the face. So that's another thing that you might need to do sometimes even with people is to separate them from that background. If you have the face of our liquefied doesn't work. And once again it's just really fun. I know it's like almost sacrilege to play around with famous paintings like this, but why not? I'm not going Teoh. Sell this to anyone. I'm just messing around, and he's quite said as well, so we can give him a little bit off smirk or smile. Um, and then we can probably also ah, maybe just increased some features. No, I think that's fine. And, of course, don't forget that you have also your ah tools here on the left. So, like the foreword worktable, with which you can change things around like normally, so that that that didn't change so you can steal, restructure, menu a leap and using the face of our liquefy at the same time. When I used this for World War two, I always make sure that I use a big brush. So it's not as noticeable when I make changes. And it's good to know that if you hold on the old or option key, you can reconstruct the changes that you've done with the brush without affecting the changes that you're doing on the right in the face of liquefy. So that's quite neat, and it's a smart way of doing it. So it completely separated because the things on the right hand non destructive anyway, because you can just change the values by the brush can be easily recreated or ah, recovered by holding than the order option given your drawing. So if I click. OK, we can now see the updated version because I have it in the background as well. I'm just going to turn it off so you can see before and after. So obviously this is just a quick run through or a few examples using the face of liquefy. But I would love to see what you come up with it again. If you have I photograph of a person or an illustration or a picture of a statue that you will be trying this out on, um, send us the before and after and that you can have fun with this. It doesn't have to be a serious one, but on a serious note, this can be used really well for fixing fixing gestures. Ah, and also, um, like proportions off the face because sometimes it's not. The face is the problem, but the actual lens that was used to capture a picture. So sometimes when you take a picture too close to someone in the face will look distorted. And for that fixing that this is again an amazing feature. So I love it and I use it very often. So hopefully you like this examples and ah, I will see you guys in the next one. So stated 20. Day 18 - Digital Watercolour (Adobe Sketch) #77/365: - Hello , guys. Shoot me from Yes, I'm a designer. I hope you guys are well in this session. I will be going through some of my process on how I clean up my artwork and for the shop. I initially designed this using the adobe sketch up when creating the design. I always trying use layers in the correct possible way. So in this case, I have several cap type. But as you can see, the layers are nor that organized. So I'm going to do now is clean up my layers. I'm going to make sure that all the cack ties are grouped together on label correctly. So this way it just keeps the layers organized on you. Avoid overlapping elements. When I initially created design in sketch, I didn't realize how one K is. So what I'm gonna do now is using the warp toe. I will use the little anchors and align them and make them astray as possible. So you get this option if you use to transform tool. So if we do co Manti, you will see the walk to which you can use to straighten up your objects. I think that works really well and I will probably go through all of them now just to make sure they are astray as possible on I think I'm happy with that. I think this one is fine. So I will move on. Um, I just this one slightly again walked through and just nudge it to the right. I designed my CAC Ty using the Doobie sketch. However, I didn't realize how small my actual character is. So what I'm gonna do now is just in largest slightly. So if you just select the layer on just right, click and choose the options. My object, this will enable you to make your image largest possible and still try to keep a clean quality. You will also have artwork that needs to be fixed. So in this case, you can see that the edges off the plant has been chopped. It doesn't look good. So what I want to do now is manually paint over the cat's eye. Using the brush options in 40 shop, I reasoned, downloaded calls, brushes. I will highly recommend for you guys to do that. Carl Brushes has so many amazing, realistic watercolor brushes for you guys to use that make painting really funding for the shop. So what I'm gonna do now is just experiment with the brush options on. I would just reduced capacity as well to make it a bit more light on Ben again. Just it's all over experimenting and finding a brush that works for you. So just a final thought. When you're put in a composition together, try and make sure that your layers are organized labels correctly, untidy up as much as possible. This will make it easier for you to make any other necessary changes. Another key factor you should consider is converting your layers into small objects because for two shop is a Ross Arised application, it is recommended to convert your artwork or images into small objects. This will allow for the shop to retain the pixel quality to the highest as possible. So again, to avoid blurriness and rough edges, make sure you convert your images as a small object. And finally, if you love painting in 40 shop, I would definitely recommend for you to download Carl's brushes and experiment with amazing , realistic brush presets that's available. I hope you guys enjoyed this session for your free to download my working files and come up with a composition. I will see you guys on the next video. Bye for now. 21. Day 19 - Contouring Portrait (Ps) #78/365: - Hey , guys, welcome back. Today we are talking about contouring poor traits using the Dodge and burn tools. Now this is something that you can see in the four minute video, and it's fairly an easy technique, so I wouldn't go into details again, like repeating the same things that I've done there. Um, if you want to see the technique, you can just watch that video. Instead, I'm going to again focus on the talking a bit more about the aesthetics off doing this technique and whether it's it's good to apply it in all different scenarios and also the amount or the value applied. That's what I would like to explain, because just like everything, especially in retouching, um less is more so. That's what's very important that whenever you learn a new technique, most beginners would go too far, and it's it's like you learned a new toy and you just want to play with it. Um, of course you will take it too far. Um, and there's nothing wrong with that as long as you realize that you are doing it, Teoh taking it too far. So if you're working non destructively, likely the technique I explained the advantages that even if you go way too far, you can reduce the amount off the effect by just reducing the opacity off that layer. That's why I'm doing at the end of the vomit video as well. So apart from the intensity off the effect, there's overall stylistic decisions that you have to make as well, sometimes like what suits the photograph. So when you when you have a picture, whether it suited for a high contrast affect or something more subtle and yet what actually serves the photograph to improve it? So there's lots of things to consider apart from the actual technique itself. And I also mentioned in that one minute video that it's important to study makeup. So you actually have to understand how makeup artists apply the same effect with the products that they're using to bring out the best off the faces and to emphasize certain features and conceal other features. So here's an example that I have on my screen, which I think is a really nice, nicely retouched photograph. You might say that it's a little bit too far, and it's obviously retouched, so you can tell that is being retouched, Um, because there is just too perfect on the law of details are just too perfect. But in terms off the contouring and the shading off the face, I think they've done a really nice job without losing the skin texture, which is another important thing. You don't want to lose the skin texture completely. Ah, otherwise it just looks really fake. And even this one, I think, is a little bit too perfect skin. So I would I would prefer to have a little bit more texture, risible. But in terms of contouring, I think it's a It's a really good job. Um, I didn't do this. I just found this example on Be Hands. But, um, if I show you another example here, this one is again a strong contouring effect. But it's not necessarily bad because, as I said, depending on the photograph, sometimes a stronger effect might suit the photograph. And in this case, this height hi key or high intensity contrast actually works because it was already a dark background, and the girl she has, like a quiet like, fierce look, so that's suited with this high contrast effect. But then, if I show you another one. He This is where it goes really bad. Um so we have the original photograph, which is that it is. It's a nice, nice picture, but then it's completely ruined by over cooking everything. So both the contouring is overdone. The colors are v it. It's like I don't know what this orange color doing on the skin completely not realistic Andan. We also have the ah, the The eyes are obviously over exaggerated. There's, ah gold effect as well. The goal the fact I don't mind, to be honest, that can be brought out because that was actually very lost in the original one. And if it was only improved, like the eyes with the maybe the eyeliner and ah, the gold. Um, the goal, the fact and the rest was kept more natural than it would be a really nice result. So another thing that I wanted to point out here is that sometimes contouring, when it's overdone can result in, um, references are examples like this one where the eyes, if you look at them on the right side, they look almost completely flat. And that's because there's no depth by removing the shading off the I. It starts to look like really flat instead of having it curved, because don't forget that the eyes a bowl. So it has to have that shading that roundness on the edges. So around here and around there, it should have that nice, gradual Grady in that we see that gives it that curved shape and is also curving up from the top down so horizontally. It should also have a curving effect, something like that which you're losing if you're completely flattening it out. So then it becomes like a plane. So that's something that you need to make sure that you avoid doing and not just on the I in general, in the face. So you have to be careful, because by using the contouring you are actually changing how the structure off the face looks so sometimes is even more effective to do the contouring than to use any liquefy. So you don't actually have to push details around as long as you're doing. You're contouring nicely. It will feel like it's bean adjusted, like here, we can see that it's really nicely emphasizing those details. Ah, that the shape of the face that makes makes it look pretty. So, um, I These are the main things I wanted to mention. But I also wanted to show you that own Patri in I have a board on ah, photo retouching and I collected some good and bad examples. And by the way, if you are not following me on Pinterest yet or following Yes, I'm designer on Pinterest yet I recommend to find us because we are collecting references here not just for photo retouching, but all kinds of other areas, creative areas. But what I wanted to show you here is that the references that I have here are not all Photoshopped Ah, some off them are just simply make up. And that's exactly my point that as long as you learn about makeup that teaches you a lot how to do good poetry retouching and for the shop and the simple things like learning about the face structure. Depending on someone's face structure, you would have to apply contouring differently so you can see he had the highlights and the shadows. So which parts needs to be darker, which meant parts needs to be brighter. And then the blush is the pink dots where the blood should be applied. So that's like the three main areas that for a certain face type diamond facetime um, we need to apply. And then we have the heart shape. We have oblong rectangle face, pear shaped oval and round. So it just shows it really well, like, based on celebrities and how their makeup has been done, we can see good examples off how to apply the contouring. So make sure that you learn impound makeup. Um, and how makeup artists work. Ah, in order to do your portrait retouching. Well, all right, so that's all for today. I hope you found this useful and follow us on Pinterest and also feel free to share any examples that you do Based on this tutorial. Thanks a lot for watching and I will see you guys in the next one. 22. Day 20 Character Art (ProCreate) #79/365: - Hey , guys, Welcome back. Today we have a cool little illustration character art project that I was working on, and I have the beginning and the end results here. The first image that you see on the left is the original sketch that I did actually own paper. This time you can also see me rubbing out the regional lines that I had. Um, so why I want to talk about is capturing characteristics in your drawings. And this is something that is really the coup crucial element in creating, like a successful drawing off a person or an animal or whatever you're drawing even an object. You can highlight and emphasize characteristics if you really think and if you plan Well, um, and I mentioned this before, but it's always the key to get the concept right. So as long as you have a strong sketch to start with, the final result will work. But it all comes down to getting that first illustration right, which can be like a five minute terminate. Drawing doesn't have to be a really detailed one. So at the beginning, you shouldn't always be, um, consider, like considering to add a lot of details or ah, just painstakingly refined certain elements in your sketch. It's all about capturing that, um, certain mood or or ah, just just really like what? What the gesture is about. So gesture Drawing is like a big topic when it comes to like drawing characters and finding a gesture. The body movement, the ah, also the facial features and everything all together comes in every that helps to emphasize what your character is about. So the reason why I chose this character I trust a man is because it's ah, it's a quite fun, um, character to draw. And there's a lot of characteristics that we we all know, like the how laid back they are, how much they love music and smoking off course and the colors as well. These are all fairly well known and innovate in a bit. Oh, in a way, a bit cliche as well at the same time. But still, I think it really helps to get the character right. I wanted to also make sure that the character doesn't look like Bob Marley, although his body could be similar like his. He was also quite thin, and, ah, he was a really good football and then like and he had the moves and stuff like that. But ah, the face. I wanted to make sure it doesn't look like him because that would be a little bit too much of a cliche. So you can see that. That's one of the things that I changed quite a lot from the sketch to the final illustration, the face because I felt like the original drawing was a little bit too. I don't know, Um, it wasn't friendly enough. It wasn't just just chilled enough. So I went for a little bit older, more mature guy, and ah, I just made sure that he looks like, really like, chilled and cool. Um, and hopefully I managed to get that right and hopefully looks like that. Um but yes. So other than that, I think the main difference is just changing the poster slightly. So I got the arm that was pointing down bent as well, because in the original one, it was just too stiff, and I wanted everything to be fluid and curvy and and relaxed, so anything that was too sharp, I adjusted even the hand I adjusted to have instead of like a straight hand gesture. It's going back. And instead of showing that rock sign is, like more like just just peace Ah, and really calm and and the Mawr raggy style. So, um, apart from that, I don't want to go into detail on how I actually drew it and all the techniques that I use . I did this in procreate, so I was first racing over my sketch, and then I was refining it in procreate instead, what I want to talk about today is just assure you similarly, um, similar style illustrations. These are not colored there they are all black and white. But I found these on the Internet, and I just wanted to show you how ah, others Other artists also did similar characters and again using different styles. But they again captured the characteristics that I was also working on. So the 1st 1 on the left is obviously that's Bob Marley on DA. It's a quote about football that he said, and the I love the way they they captured his characteristics and, um, it I think it's gone. Gonza Rodriguez. You can find him on Instagram as well. Unfortunately, I don't have the names for the other two drawings. Actually, the one on the right is called Hell Vera's held there as Beth or hell, Verus Beth. I'm not sure, but that is probably the name of the artist. Unfortunately, I couldn't find the names off them. But, ah, I just picked these randomly and I love the 2nd 1 as well, Which is, Ah, last over caricature. It's more off a stylized illustration, Um, but again, really cool. I think he's playing football with a coconut, which is quite fun. Um, and then the others I'm or just dancing and peace and and same same type of things. Um, but the reason I'm showing this to you is that it's always comes down to finding those characteristic a properties and trying to exaggerate them and really put the gesture in in the illustration. So I would love to see some examples that you come up with. It doesn't have to be a rustic I. It can be anything. You can think off something fun you can sing. Think of something that you are interested in, whether it's a certain type of character or I don't know, it's a profession, maybe you can think off that can be easily exaggerated. Like you can think of an artist, a painter. They are usually quite, um, like artistic, and you can make them crazy. Or you can you can do, for example, like a really, um, a really cool pianist. Someone was crazy, like BB care and a completely immersed in playing the piano. Stuff like that, you can think, and you can try to exaggerate any traits that you think that will, um, explain what that character is about. So, yeah, I would love to see some examples. And don't worry, if you're not good at drawing, it's still a good exercise. It will teach you a lot about expressing certain things, whether it's illustration or whether it's graphic design. They are related, and you will learn a lot three. Just doing a little exercise like that. Theo 23. Day 21 - Geometric Line Art (Ai) #80/365: - take this shape into the pattern maker tool by simply selecting object pattern and make. So I want you in the option. Anything that's in the bounding box is the element that you can alter anything else. Idea in the dim version is the pattern itself. So you will have a clear overview of how it will look in the grid in a brick by column on dso and so forth. You can also alter the height and the width of your elements just to avoid overlapping off the patterns and spot are any unnecessary mistakes. So this is a really cool, um, way to experiment on, have fun and see what kind of shapes you can come up with. So what I'm doing now is simply just a just in my height in the West on trying to find a really good fine balance. Nothing that works for me. So I would just simply select okay and then done option. The pattern will now be attitudes watch which you can re scale use in the object transform and scale option. I hope you guys enjoyed this session. Feel free to make some geometric pattern using the transform option. You can use multiple shapes, different colors, Grady in and come up with really cool effects and style that can be applied. Or you can use as a graphic element for Brandon editorial posters. So it's a really cool, fun tool to experiment with. Have fun, and I will see you guys on the next video bye for now. 24. Day 22- Cutout Technique (Ps Mix) #81/365: - Hey , guys, how are you today? We will be using the iPad, and I'm going to show you how to work with Photoshopped mix to extract images and they use them in, ah, Adobe Comp to put them together. So this whole thing will be entirely done on my tablet. I'm using an iPad pro, and I'm working with the apple pencil. But you can actually use for these techniques, even your fingers. It doesn't have to be with the stylus. And if you don't have an iPad, these shoot work also on an android tablet or even on a smartphone. So the same applications are available for smartphones as well, and they're completely free. So you don't need to have a creative cloud license. The only advantage you have there if you have a license, is that you can take your final work and continue refining it in the edl be desktop applications. Um, but let's get started in for the shop mix. So I'm just going to open this one up and ah, you can see I have already a few images here, but I'm going to start a new one, so I will choose images that I have on my camera. So let me just go into this category. I have called models, and I'm going to pick an image that has, like, background, which is not completely, um, like, justice s an image without any background. Um, actually, maybe let's just choose something a little bit more complex. I think a good one could be this one here. Okay, so let's just start with this image. Let's say we want to select her and extract her from her background. So I'm going to choose cut out as the first option. And by the way, in Photoshopped mix, you are limited in a way, because you can't do retouching here. Um, you can mainly work on the, um the color adjustment. If you want to change that by using the adjust option, and then you will find most of the basic stuff here. Most of the things that you would do maybe in a light room. You can actually do it here as well. So, for example, if I want to increase clarity, I can do that and increase the contrast with that in the image. I can also bring out more details in the shadows, like we can see a bit more details on her dress. We can also reduce the highlights if we feel like it's too bright, then we can change the temperature, color temperature in the image. We can also ah, even use auto fix if we want or we can play with contrast. And overall, if you want to see before and after Ah, I think we can accept the changes and then is that of a just undo Redo? Yes, Here on the top, we can see before and after just a subtle change there. But what's cool is that you have also, um, options like shake reduction. So if you have ah out of focus of blurry details, you can try to use that. These are features that we have in photo shops, Think or Photoshopped mix as, ah, extraction off a few features that you would use in voter shop and is the same technology. Implement it here in this app. The upright is, for example, getting rid of perspective distortion in images. Blending is obviously using bland modes, and you can have multiple layers here so you can actually makes images together, and I will show you that in a second. So I'm going to cut this image out, and that's one of the key features that you can do here. So the reason why it's called mixes because it's all about combining images and creating composites. So the first thing I would do when I do cut out is to try to use the total feature. And this auto feature is similar to the new subject. Option in four. To Shop for the shop has that selection cause subject, which tries to analyse the image and find what's the actual subject, Whether it's a person or an object or anymore, it will try to select that and extracted from its background. So actually, that feature was tested first here in this app, and now it's implemented into the desktop application. Same thing with the face of a liquefied. They first tested it in for the shop fix, which is another app, and then they now have it in voter shop as well. So once you've done your automatic selection, you dance which to the smart selection tool, and if I zoom closer, you can see that the edges are not good. So what I'm going to do is to draw inside my selection and make sure that any detail that was missed out will be added back in. And I'm just going to draw quickly over those details that I can see are missing and also by drawing around the edges off. Close to the edge is I can refine the selection, so wherever it looks very pixelated, it will get much better once I draw around it now. I eventually chose a very low resolution image because I don't want to wait too long for the results, so it's just easier for you as well to see what I'm doing. But of course, if you're using a more high resolution image, your end result will look better. So it won't look aspects elated as this. So I want to presume that close because it's just doesn't have that amount of detail in it . But as you can see already by just simply drawing around the edges a bit, especially like around the boots, you can see how much better my selection is getting. And then if I find details that I don't need, I just reached you, subtract more than on the left and just drove over quickly. Those details that I don't need on the outside, and then they will be removed again. Here, I can just quickly remove these bits and that. And then there you go. It's gone. So same thing here. I think just a few lines from the background are still showing up, which we can remove also around the hair, going to make sure that these are removed. Okay, so we have quite a good selection, I would say. But it is also important to mention. And once you've done your smart selection refinement, it's also good to go into the refined mode and choose the right type of edge option. So by the foot, it's set to smooth or original, but you can check if you change it. It might actually get better around the edges, so that's fuzzy. Small, that fuzzy, medium and fuzzy large um, in our case is good, but it also introduces those lines from the background, so I would need to remove them manually, but it might actually make sense to keep it maybe on small and then it's also good to use the basic tool, which is just simply a brush. And if I set it to minus its. It's almost like drawing over details so I can maybe have my hardness on the brunch set to maximum reduce the size a bit and then maybe even more reducing the size and then just simply remove these details, okay, and we can see how that looks maybe a little bit even smaller brush and then refined the edges like that. But yeah, so, um, it's completely up to you, whichever edge detail you prefer and whichever you prefer to work with. But once you've done your extraction, you just have to accept. And then that means that you have this on the separately year, so the detail is already extracted, and now you remove the background. Now it's not like masking in for the shop where you can recover the background. Once you accept that cut out, the background is gone. Of course, you still have your image on your tablet or phone, but in this project for the shop makes project, the background is gone. But then, if I click on the plus sign here, I can now choose ah, another image to put as the new background or even just the color layer. So if I choose a color and say done, then I can now move that color layer underneath my original image and I can have a look how my extraction looks like now. Of course, at this point, if I feel like there's some details left that I should remove like that, why detail there? Ah, under the hand that is holding the bag. Plus also around the glasses. I might need to refine it. I can still go back to cut out and just make changes to the current design So I can paint over this part here because I need to remove that. And I might want also refine the edge in here something like that. And at this point, by the way, if I want, I can also said the edges to original or smooth. Maybe yes. Muth might look a little bit better. And then I can just refine all of these edge edges a little bit further. Okay, so, of course, again, because it's so pixelated. Close up. It doesn't really look good. It was probably better to keep. The edge is set to fuzzy. Yeah, it looks a little bit better. That way. Um, but yeah, I removed those details just to refine the edges. And then I accept this second cut out, and then the next thing I can do is to take this into one off my desktop applications. So if I go to the share option, I can open this up in for the shop. Or what you can also do is having a selection like this layer with the girl I can actually set. It ascended to the clipboard. So when I click on clipboard, it's going to be ready to be copied into another app like Adobe Comp. And that's when I showed in the one minute video as well. I just show you quickly here once again. So if I go into the comp, that's the same project that I used in the video here. If I go into the options, I will find under the image options, the paste image feature, and then it will bring in the whole design that I created so off course, if I want, I can. I only used the image off the girl. If I go back, let me just switch back to for the shop mix and I'm going to turn off the color layer. So I just hide that and go again and send this image to the clipboard. Then go back to Comp. And I'm just going to delete this one that I brought him before. And I'm going to paste the image that you go now. It came in without the background color, so I can now set it up to whatever size I want. And I can position it also wherever I wanted within the design. Now comp, as I mentioned within the, um, one minute video is like, ah, work as a simplified version of in design available on your mobile devices, which is great as well. So you can work work with tax. You can set up paragraphs, Um, and then you can send your final working toe either in design for the shop illustrator or even muse, which is great. And there you can even save it into P. D. Efs. So that's just like a workflow. I wanted to explain a bit in more detail because I think there is definitely a reason why this can be useful. So sometimes when you don't need to make amazingly precise selections, you just want quickly to put together a couple of things and create a montage or like read ah, spread like this one. Um, just working purely with tablet might be a better solution than to go through all the application, and especially if you don't have a CC license and you don't have the desktop applications, then use thes free APs and they will get you really close to the quality, Um, that you can achieve it the desktop applications, especially if you put the time in and you invest your time and refined those selections and come up with a nice composition. So that's a very good combination for the shop mix and that they will be comp these traps. So definitely give it a try. And please. If you are doing something, make sure you share it with us. So thanks a lot for watching today's tutorial, and I hope you guys will join us in the next one 25. Day 23 - Content-Aware Move Tool (Ps) #82/365: - How are you today? We have an interesting example that I picked and because it's about the retouching tools, we've seen one off them. The content of their move tool being used with sheep. Um, I wanted to talk a little bit about another area where you are doing retouching, and that is restoration off old photographs. So recovering them and removing or the damage details and, ah, just make them look nice, like what you can see on my screen. So from the original image that we have here on the left side, we have the retouched version on the right now. To be able to do this type of things, you would have to rely on a few different tools in for the shop, including the sport healing brush tool, clone stamp tool and maybe even the content of their move or patch tools. Um, normally, what I would do is always to start on a new layer, so create a new layer because most of the tools, including the sport telling Russia as well, can be used on a separate layer as long as you have the sample all the year stone on. So when you have that you will be able to draw over details and review removed them slowly . Now, whenever you get to details where there's a distinct edge like here, you just have to be careful and either use a small brush. Or you have to probably also combine this to A with the clone stamp. So you see, because I went closer and I use the smaller brush, it actually worked out fine, and I could remove most of the crack that we had there. And then I'm just going to go further out this way and keep using the same tool, trying to get rid of all of that damage that we had the on the photograph. So something like that, then I think further up here is another line that we need to get rid off and there's another one there and so on and so forth. Now I'm using the mouse now, but I'm going to switch to the pan tablet into us tablet I'm using because retouching I found much easier to do with tablets. I just wanted to show that it's possible to use the mouse as well, and you probably heard me clicking away. But now I'm going to just work a little bit faster since I'm using the tablets so you can see Ah, I have lots of little brushstrokes. It's almost like shading when you're drawing. You have to go through the details, and I can show you already how much I managed to improve on the image so I would just keep going over the rest of the details. And I have to make sure that I'm not extending the guys years and making him into an elf. So what I need to do here is to switch to the clone stamp tool, and I'm going to reduce the signs off this. And then I can paint over exactly what EJ I need there and then the rest of the details wherever it's not as difficult. I can just use the sport healing brush brush toe. By the way, the sporting brush doesn't need to have any reference. It's automatically picks references from the vicinity off the area where you're painting. So, um, it has that feature was so the same thing that we used in the example with sheep. It's also relies on the content of their technology, so it analyzes the surrounding details, and based on that, it picks a reference that it pains over those details that you're painting over. So I'm just going to paint over a few more here, there. And then when it gets to the more complicated details, I just have to be careful and probably use a smaller brush size, especially around that, um, emblem. Okay, so just go over these quickly. Something like that. And I don't want to spend too much time on this because I think it should be fairly self explanatory while I'm doing um, so it's It's going back and forth, refining and getting rid off the details that you don't need until they are completely gone . Like here. I can use a bigger brush. And then once we get closer to the hat again, we were just more careful not to mess off the edge detail there. And there you go. Now, sometimes what I do is if I see in the background the pattern or like a a detail that's starting to get a bit hazy. I would switch to the concept, will sample and just paint over the detail a bit, so sometimes it's good to recover details and maybe even not using it on full intensity, but maybe 30% of 40% because your clone stem has a capacity so you can reduce that capacity and paint over the details until it looks right. So until it gets into the right shading, so you can see already that we didn't we don't quite a lot. And the around the face, a hat and the background we pretty much restored everything. And another thing I wanted to show you is about the clone stamp tool that it has actually a panel called Clones Source Panel. Now, why is this necessary? And why is the clone tool different to the healing brush? The clone tool is a copy paste brush. That's the easiest way to think of it. So whatever you select by old clicking that's was going to be cope. It Ah, I if I have 100% you can see exactly how that works, right? So it's a copy paste. Oh, but by using the clone source panel, you can increase, decrease the size and set a rotation and even flip your cloning. So if I sample, let's say the U. S. Sign here I can click on this icon and that will flip it or horizontally, or I can also flip it vertically or just simply I can set an angle for it, and then he was going to draw it in a different angle. So, for example, if I want this to be visible on the left side, let's just say we needed it on that size. I could do a rotation in the minus direction, maybe a little bit even more, and I can make it smaller by reducing the width and the height, and then I would be able to have it on the other side. So it has a little bit off that perspective and also copied it over. So it looks very different. And but I still use the clone source Clone stamp tool. I think it's that detail that is supposed to be the US sign that we can hardly make out there in the background. But what I would like to show you, I'm going to reset the clone source panel. What I'm going to show you is how I would extend this detail here. So, um, first of all, once you refine the edge and get rid of all the cracks and and issues like that with the sport healing brush tool, which I'm just going to go over quickly here, a few details. Okay, so I don't want these to be kept copying around. All right? Something like that. Then using the clone cental. Now I can select this data, for example. And instead of drawing and extending his shoulder too far out like that, I can add that angle here already so I can actually turn this in the angle. I need something like that. And then now if I start drawing, you see the same detail that we had up there. I could draw in with the Constanta, but in the right direction. And if I go a little bit further, I can actually build in that texture that we needed that anyway. So now I can reset Michael in some tool and just tied the up around the edges, like so And there you have a quiet, nice edge that would have been quite difficult to do otherwise. So now I can use again the clone, some tool and feel in these rest off the details. Inside, it's a little bit easier. This this details here. And if I need, I can also switch to the healing brush and just tidy up any of these details that look a bit or weird and so on so forth. So that is the advantage of working with the clones timeto ah and the clone source panel, where you can customize how the clone is going to work. But don't forget that again. Because you are working on a separate layer, you have to make sure the clone stamp tool is also set to sample all layers. That's crucial, so make sure that's turned on almost all the time. I will work like that and then because we are on separately or we can still see the before and after options. So that's all I wanted to show you. Today. I'm going to share with you or in the attach files, you will find that a few old vintage photographs that need some ah tender love and care, which you can give to them by using these tools and practice. Um, all the techniques that I showed you, so I would love to see your results, and you can, of course, use your own photographs as well. I'm sure there's some old photographs in the in the family albums as well that you can work on. So good luck. And thanks a lot for watching today. And I hope you will be able to join us next time. Thank you. Good bye for now. 26. Day 24 - Complementary Colours (Theory) #83/365: - So in this video, I'm gonna take this a little bit further on, show you a few cool pieces of work which use complementary color palettes and explain why I like them. Then I'm gonna finish up by showing you guys how the cool little illustration I made for this video could become a bit more of like a commercial project on something that essentially you could make money from in the future. So, yeah, hopefully that will be really useful for you guys. Let's start with this water maladministration. I wanted to point this out because it's a great example of the fact you don't need to use the two colors equally across the whole of the design is more by experimenting and seeing what looks good on, you could try a few different versions and then kind of decide which one you think works the best. There's no about spreading the color equally throughout the design because that will actually end up looking ah, little bit force from quite unusual s. Oh, yeah, it's important to remember that just because you're using two colors, it doesn't mean you have to use those completely equally. So yeah, I really really like this illustration. I really like the style of on the muted, more muted color palette that that it chose to use. I think the two work really well together, so let's move on to our next one. This is actually a great example of a branding project, which uses complementary colors on a smaller scale. So instead of using it as the entire focus for the design, they, the designer has just used complimentary color combination to communicate a clever message to the viewer in like a fun way. It's important to remember that complementary color palettes are used across lows varies of design, not just an illustration on logo design is a great example of a medium that sometimes needs a good contrast to create a message like here. I really like the startle use of color in this logo on the way it kind of communicates war . A potential customer is going to expect from the cafe on the kind of food they might serve , I think is really clever. It looks really cool. Finally, let's look at my last example. I found this illustration on dribble on. It really stood out to me. I think it's fun. I think it's cute, but it's actually a really strong example off a modern illustration, which uses a limited color palette in a really clever way. And even though it is very simple, it's been executed really well. So it doesn't end up looking plane on. It has a lot of character about So yeah, that's my final example for today. Let's just quickly go back to my designed that we started with in the beginning of the salt and the pepper. Now, as you can see, I've had a little bit of subtext here. It's important to remember, with such a simple design in such a simple color palette that the text and illustration really need to marry up. They can't fight for the viewers attention on. They need to kind of suit each other. So I've used quite like a modern typeface to fit with the style of illustration. I've chosen to use her, so I played around with a few different type faces. It's just really about being patient and seeing what works on. Then, when you're happy with it and happy with the way the Texan illustration sit together. It's kind of time to explore how it might look in context of a real life object. So I chose to check out how it's gonna look on a cushion cover now. This illustration could work on other things like cards, for instance, or mugs or phone cases. And that's what's cool about producing quirky little illustrations. Because they are very transferrable on, they can easily be developed into even more complex work. So they're really good toe No only help you understand how to use color and experiment in the safe way, but also to actually post up online on due to start using commercially as piece of work. Hopefully today has given you some insight into how to choose on use complementary color palettes. So now you can start applying them within your own work with that's illustration logo Editorial design, packaging design Really, this kind of color pilot is really transferrable on creates a great sense of contrast in your work, no matter what you're working on. So try it out on DSI what you think on? Hopefully I'll see in the next one. Thanks, guys. Bye 27. Day 25 - Editing Photos (Ps Fix) #84/365: - guys , welcome back today. Here's another tutorial about using a free app on your mobile devices and this is lightning CC. So light room Sisi was completely revert with CC 2018 release off the creative cloud applications and services and thanks to that light whom became fully cloud based. So that means that you can actually use the light room app for free and you will be able to use it on both your phone and tablet, and things will be synchronized as well. Um, the only thing that you would need a license for is if you want to use it on the desktop application version as well. So, um, it's definitely worth giving you to try. So I highly recommend to download it and ah, you can actually have a full camera rule workflow and plus cataloguing ah technique or cataloging application at the same time to use and organize your your photographs. And we could talk about light room, see, see quite a lot. And I'm actually in the process of recording Ah, a lighter masterclass which will go through all the different features that you have here. Ah, and also including the original version of light from because they're still available. It's called Light from Classic. So that's the one that's not cloud based. Its ah, this that stop based so that these two versions now. But I'm in the process of recording that course which will be available to anyone subscribing to our courses. But in this video today, what I wanted to talk about is ah, again a combination off to APS free adobe APS that you can download and start playing around with light from Sisi. And the other one is for the shop fix. So the same thing I showed in the vomited Torrey. Oh, but on another image. So now I'm going to show you this example off. Starting off with a really boring photograph over Nice tree. I love trees. I always take pictures off them and I'm driving shoe me crazy normally with them. Ah, but yes. So I just stopped and had to take a picture off the street. And that way See, it doesn't look as great because we have the vire on the top. We have the road signs car on the side, so it's just not that interesting. But once you removal, there was distracting details, and you at just the image within light room. It looks already much better now. Light room won't allow you to do the retouching for that. You would need to use for the shop fix. But there is, ah, direct integration between these two APS. Once again, you don't need to ever leave your tablet or phone because you can do this on your phone as well. Ah, you can do everything directly there and then, Ah, if you need you can and send the image and you can continue working with it in the desktop applications. Now let's get started here with this photograph, and I am just going to Oh, by the way, this something that, if I don't know where this image is, another amazing feature in light room is that you don't need to actually type in keywords. All I have to do is to type in a tree, and there is an artificial intelligence built into light room, which analyzes the images and would recognize What you have on the images is quite spooky, but it actually works really well. So if found images with trees clearly visible on them, and I think it did a really good job. But just to show you that if I type in, let's say I do another search and I type in bridge. Um, no, it didn't find that little bridge, I thought. Well, so it's not perfect, of course, but let's say Skyscraper, Skyscraper. Let's search for that. No, it didn't find that either. On as do City, then, yes, There you go. That's a bit better. So I found these two examples. Of course, it's not perfect, but most of the time it works really well. And it saves you a lot of time because you wouldn't have to worry about ending keywords. It's still good to create albums like I have an album called Landscapes, and that just helps me to find the things that I would like to work with. Um, but let's get started on first of all, improving the image so I would go into the light settings, and first I would reduce the highlights and the exposure because it's just too overexposed and probably also reduced the fights in the image so immediately we're starting to get a better result. We can then go into color and increase the vibrance and saturation because it was really losing the information in the colors. So it was really Dad didn't look that interesting. I can also increase the temperature or just make it slightly a bit more warmer. Then we can go into the crop and click on straight and because I feel like it's not completely straight, but that's a little bit off. So I'm just going to reset that crop and I would probably do it manually myself. I think something like that is a better, more straight image. I feel like we just needed a subtle crop, something like that. And then actually, I'm not happy with that result, So I'm just going to under that Ah yeah, I think all I wanted to do is actually get rid off the bottom section and also the top, maybe two around there. I think that's a nice a crop. It's just a better composition and I could be lazy and instead of retouching the car, I can just simply crop it out and we still have things. Teoh retouch the two signs. So I'm just going to do it like this, so I think this is a better crop anyway. Um, and I'm going to just accept that change, and then I will go into the effects options. And I love to use the haze, which really like pumps up the saturation and contrast plus clarity as well. It just makes it more dramatic. The vignette can be added on the corner so it gets, gets the corners darker. And then overall, we can go so into detail and just add a bit more sharpness to the image. So now if we look at this before and after, so if I go into the options and see before enough that by just tapping and holding on the image we can see before let go, we will see after. So it's quite a big improvement, as you can see. And by the way, at this, at the same time, when you are doing any adjustments, there's by the fort and optical correction as well, which is the lens correction that's on. But you can always take that off. I like to keep it on because it makes sense now at this point, once we got to this point and we improve the image, we can then click on the send option and say Edit in with the maximum available size, and that's when you choose either healing or liquefy. I normally won't go for healing because that's for retouching and removing details. So let's go healing. But both of these options would open up the image in for the shop fix. And ah, this is another like like a limited version off for two. Shop on your mobile devices, which has the all kinds of different retouching techniques, including the sport healing brush cone, stamp the patch and with red eye to. But here, I'm just going to use simply the sport here first. So I'm going to zoom closer to these detail here with a bigger size brush, and I'm going to just paint over this detail like that, and it did quite a good job already, and I might just need to go over a couple of details. And at this point, once I removed majority off the detail, I would switch to the concepto pick a reference detail, and I would just use that to cover up the mess that was created here. So, um, would just under that last bit, I will reference that detail on, just paint over here. Reference another detail paint over there, and it already looks better. Maybe this one here as well can be tied it up and a little bit further down as well. Something like that, By the way, here on the top left corner, you have the before and after Togo just have to hold it down to see before and after. It's a good way of finding whether there's anything else you wanted to remove or not. And then using the sport healing Russia, I'm just going to go through a couple of additional details, which is just distracting, like this big sign here. I'm going to paint it out first with the sport healing brush, and then I'm going to use the Kohnstamm tool. So using the clone stamp, I'm going to reference this tree and just extended a bit further down. Something like that and that other tree as well. I think it was coming further down originally, so I'm trying to set it back to the roughly the Waas, so that's quite nice again. We can see before and after. Let's assume back so before and after the road details looking good. That's not too bad. I can always use the clone stamp tool and align it to the side and then drove over it like that just to refine it a bit further. There's a guy here in the corner. We can remove the sport healing brush. That's just a quick and easy fix. Something like that, that's OK. And then off course, if we see any other details that we wanted to remove, it can. But at this point, I'm fairly happy with the results, so I can just say save and return to adobe light Room that's on the top center so I can click on that. And then what will happen is that we get light room back and we will see our retouched version. So there you go. It came back and we can see before retouch and after retouch next to each other. So there you go. That's another brilliant combination off to cool adobe APs without ever leaving your mobile device. You can do all this just using a tablet or a smartphone 28. Day 26 - Balance in Design Layouts (Theory) #85/365: - pictorial today was all about balance within your Laos and compositions. So balance is really important in design world. Having a good balance within your compositions means that your assets are spread comfortably across the whole of your campus s. There isn't too much going on in one place, which starts to dilute. The meaning of the overall piece on also means that it's uncomfortable for a viewer to look at. So if you have waited your designed too much on the left, too much on the right or too much on the upper or lower parts of the canvas, it can start to be confusing for a viewer and also too dense on one part of the design. And then, while the other part looks completely empty, eso you're not making the best use of your canvas. So now I'm going to show you a few pieces of design that I found online, which all use balance really well in slightly different ways. Then, right the end of the video, I'm going to quickly show you how I developed the design, which I created. Do you really today's tutorial? Let's jump straight in with this first example off a book cover design Eyes for Capturing the Right, which is quite a famous novel, really well known Andi. I particularly like this example because, although only uses a few design elements, the designers really got the balance in the composition nicely. Eso. While the image takes up most of the left side off the design, it's actually really well balanced with the large typographic element on the right and then the small logo right at the bottom. This just allows space for the both the image on the text to be understood together because they're both equally important here. Within this design, if one was to be removed, the composition as a whole wouldn't make sense anymore. So this is a great example because although there's not loads of elements involved, the designer has still maintained a really good sense of balance. And so it's important to remember that even when you're only working with a couple of assets, you really should keep balance in mind on it can really make or break your composition. So let's quickly move on to my next example now here. Initially, you might not think that there has been a lot of consideration for the balance within this piece. But actually, if I was to hold it in my hand on fold it this Way, so it was still a portrait, a piece of paper. You'd be able to see that the elements on the right and the elements on the left are actually imbalance. Similarly, if I were to fold it the other way, so it became more of a landscape shape. You would also see that the elements on the bottom and the elements on the top are actually completely imbalanced as well. So this is a great example of how, even though the design looks completely random, it's actually been really well for through on. The design has spent time considering the balance off each element within the composition, so that it feels comfortable for the viewer to look at. So that's another example that I really like. And again, I really like this design. Personally, I love typography, so I love see when it's being used really playfully on being experimented with. So let's move on to my next example. I included this because it's another completely different project. This is a packaging project and it's very bright is there's also mawr illustrative element to it. Now again, if I were to fold these products in half, you can see that the elements on the bottom on the top half of the canvas are fairly equal . Eso you have more of a fun illustration on the top with the solid title, which draws more attention. But then, on the bottom, you have a complete filled color on some smaller subtext, but more of it than on the top. So although the elements on the top and the bottom on exactly the same, they are actually in balance. And this is something to really remember when you're thinking about balance is no about making sure there's exactly the same elements on the top or the bottom on the left or the right. It's more that their importance of the elements is equally advanced throughout your designs . This is a really good example of how balanced doesn't just apply Teoh editorial projects. It also applies to packaging. It can apply to Web design that can apply to anything where you're using multiple assets. So let's move on to my final design now. I included this because it is a very literal representation off balance within a design composition. The text on the upper left is mirrored on the bottom right. There's a reflection off the portrait of two men on, then right in the middle of the poster. There's the title, which, if you've got a pair of scissors and cut this design and half would literally be cut straight in half. So this is a really good example of how balance can be taken very literally, but still look really good, very professional and be, well, four through that sort of my examples for today. But I wanted to quickly show you guys this design so you can see how the assets I used in the video can work in a more complex design scenario. So you probably noticed that I've introduced some more design elements to make the pieces a whole film or polished Andi look like a real editorial cover design cover design. But I've still considered where everything should sit within the design as a whole. So so I didn't keep the design elements where they were and then just add a few MAWR assets into the existing design. I actually took it apart completely. Andi considered the balance off the overall piece on, then started adding elements back in and then had a good play with it. Until I felt that the assets no only all work together to make sure the design that professional but that it was nice and easy to navigate For a viewer That's about everything for today. But I hope that you enjoyed this video on you. Found it useful on. Hopefully I'll see you guys in the next one. Thanks. Bye. 29. Day 27 - Horse Painting (ProCreate) #86/365: - Hey , guys, how are you today? This topic that I have for you today is about drawing animals and that you've probably seen the woman. It video off me, doing the horse drawing and the study first and then the actual painting. It was all done digitally. But of course, whatever I showed, the head off can be applied to either traditional media or digital format. The same rules apply pretty much everywhere. But drawing animals is another thing that I love. And again, it comes back to like anatomy because learning the anatomy off people is quite similar to learning the anatomy for animals because it all comes down to understanding their structure skeletons, that muscles and how those things are moving and always the proportions. So and the other interesting thing is that, um, with animals, you have to also started their behaviour a bit to be able to draw them well. And today I wanted to talk about my one of my favorite books on animal anatomy and understanding how to draw animals can hold Grand's book, I think, is a great reference and a great way to learn about drawing them. And I just wanted to show up, show you a bit about it. I have the book here in front of me, but I thought it see easier for you to see the cover and then also just highlight a few pages from it. Um, first of all, what are the topics that is covering? So it's covering quite a lot. It concentrates on, like, the most common themes, the most common animals you would want to draw like horses. Ah, the dear family cats and so on and so forth. So you can see the mean once. And of course, once you learn to draw these types of women animals, Um, because they're like families of animals, it will be quite easy to use what you've learned, Let's say about bears to all kinds of different bears and so on, so forth. So, um, these are the categories that the book covers and goes through, but in great detail. So it will teach you how to capture a lot of different things. Like how you should start sketching, um, whether it's a horse or are the animals how to apply shading, and it really teaches you to again analyse everything informs. So like you shapes and use dynamic lines to capture the movement and also like divide every body into separate parts because it's always easier to then reference that proportions to each other. Um, and then it goes into more anatomy on the skeleton and the skeletal structure off the animals, which will help you to get things right and make it feel like it's, ah, the right stents and debate the proportions and everything. Is it in the right way? And, of course, like almost every time you would see the bones. Ah, underneath the skin. So it is a little bit scary topic. But of course, like even on my face, you can see the bones on here on the nose, on the face on here. So there's always the underlying structure over our body shows up like on the hand, especially easy to see all the bones on the hand. And yes, so it is. It does on the knees and the legs. In general, he would see them while the rib cage you can easily see and pinpoint where things are the spine as well. Um, so there's a lot of things that you see on the human body as well, and the same applies to animals. So as long as you indicate them at the right place and with the right detail, it will make your drawing much more realistic. So it's definitely worth studying all the way down to, like an X ray view off. Seeing how the bones are actually underneath the surf surface. So like the legs of a horse is quite complex. So if you don't study it, you will never get it right. What? Once you understand how the bones are actually structured and how they're moving around, when the horse is moving, you will be able to draw much better horses straight of a just by studying their legs. And then, Ah, the good thing about this book is that it doesn't just go into the anatomy, but it actually goes into caricature as well. So it wants. He teaches you how to draw a certain type of animal. It also then takes it further and shows you how to exaggerate that features, which is always a great way again to learn and to just via than your knowledge off drawing in general. So exaggeration is always going to help you to improve as an artist, even if you just do it for fun. Doing a few of these actually exaggerated caricatures Ah, will actually help to improve your You're more realistic drawings. So I hope you find this inspiring. And I hope you are feeling inspired to do something yourself. So I would love to see some drawing off drawings off animals in the community tap coming up . And and, of course, you can use photo references. No one is great at drawing animals just straight away. So once you draw a few from references, and then always you will be better drawing that type of animal. So the more you do something, the better you get at it. So if you never drew animals before, um then probably start with the reference or collect a few references, and based on that, you can either trace. But I would recommend not to trace over it. Instead, just use it as a reference and then draw next to it. So feel free to share anything that you are doing, and we would love to see it 30. Day 28 - Orphans and Widows (Theory) #87/365: - Let's just talk a little bit about what Orphans on widows actually are. A little ever recap so on Orphan line of text is where the first line off a new paragraph has been left at the bottom of a column of text. So this line has been left all alone on Orphan. OK, so then a widow is where the last line off a paragraph has been left at the top of a column all on its own. Eso it's separate from the rest of the text in the colon on the widow ways appears alone. So these are actually really aptly named phrases, and they will help you understand and remember what these typographic terms actually mean within a body attacked. So these problems happen quite a lot while you're working with text, and it's important to keep an eye out for them in typography and general, you'll probably come across a lot of funny terms, but genuinely, once you get used to using them, they tend to make quite a lot of sense. Now, watching out for something like orphans and widows might seem a little bit trivial on something that you shouldn't be worrying about as much when you're designing and layout or spread, and you have a lot of elements to worry about. But actually, especially in editorial, the devil really is in the detail. Andi, just by forgetting about these simple typographic problems, can really make your spread to the confessional unpolished on actually harder to read and understand. So they are something that you should definitely keep an eye, which is why using this method of being able to avoid them using paragraph styles is a really good way to ensure that they're not gonna Corp up in your work on You don't need to worry about them, especially when you're starting toe work in a large document, or you're starting to manipulate text in a slightly more complex way. So let's take a look at a few interesting editorial examples that I've collected where the typesetting has started to become a little bit more complicated. So you really don't want to have to be worrying about these problems cropping up all the time. So this is my first example on. Obviously, it's still relatively simple. Text setting is very clean, very neat, but as you can see, the spread is part of a much larger magazine on. If I were to go through and designed this, I wouldn't want toe worry about checking every page for widow orphan Text on it can happen quite easily if you're editing your columns quite a lot or we're worrying about your line length on. It's something that obviously can just get forgotten about if you have a lot of other elements to be worrying about. So this is a good example off how even simple text setting can get more complex when you're doing on a much larger scale. So let's move on to an example where the text is starting to play with other elements. Quite a lot more here. The text has been set in a slightly more complex manner. Obviously, it looks a lot more playful and is engaging with other elements within the page. Also, there is a lot of focus on the text because the rest of the pages almost just blank space, which is obviously intentional by the designer. However again, if you were then to have an orphaned or widowed piece off text, this would start to look very unprofessional because the main feature on almost image within the page is actually the text. So again, it is good to keep an eye on all of the problems that could Corp up within your body. Text on. Just try and prepare for those on. Avoid them as much as possible. So living on here, we have another example off how type can be used differently. Within one layout, you have biggest scale, smaller scale. You have it set across a few columns or reduce Don't down into one column on again. You're having to worry about a lot. MAWR. You're having to worry about a lot more elements within the spread on the typography again . So you really need to be conscious orbit and make sure that it looks really good. So if anybody's interested in typography or they're interested in layouts or editorial or poster design is really good to brush up on your typographic knowledge on defined out the best ways to avoid the problems that you come across in your body text school. I'm just going to finish up by showing you a design which I created, using the same elements as I did in the woman tutorial from today. But instead of using them in that portrait format. I actually put them into a landscape former, as if they were going to go into a magazine or a booklet about getting outside and enjoying the environment or something along those lines. So it's really fun to experiment with different ways of laying up text within a spread or within multiple spreads on trying out different grids on introducing different type faces, different weights of the same type faces introducing a little bit of color, especially things you want to draw attention to on generally, just try and have a little bit of fun with type. That is something that I really enjoy doing. Perhaps you guys could have a go at two. So that's about it. I hope you guys enjoyed this tutorial. Andi, hope you have a good day and I'll see you in the next one. Thanks, guys. Bye. 31. Day 29 - Art Brush (Ai) #88/365: - Hey , guys, how are you today? We will be talking a little bit about the brushes, an illustrator. So you've seen the example about using the art brush or turning that dragon into an art brush, which is really cool. And I love that that type of brushing illustrator. But our brushes are only one part off the type of brushes that you can create. There's actually five different brush types, and the easiest way to see them is if you go to the window menu and choose brushes and then there. When you click on new brush option, you will get these five categories so you have the art brush, which you've seen in the one minute tutorial, and I'm not going to repeat that again because hopefully that made sense the way I explained it there. But on top of that, we have calligraphic, scatter, bristle and pattern brushes. Now, actually, there's one here that I don't have listed in this in this race and as image brushes because you can, I think since Sisi 2015 or no, I think it's even older, I think maybe see a six. They introduced the option to also be able to use images or photographs as ah brushes with an illustrator. So those images will be stretched along the path that you're creating, ah, longer vector path that you're creating an illustrator. So I'm going to show you, Ah, few off these other brush types today, the only one that I'm not going to go into details is the bristle brush, because I don't really see much use off that, but I can still show it to you just very briefly. Here's one brush like this one called the Mop, and I'm just going to change the color so we can see how it looks and I will create a new layer and start using it there. So there you go. That's the mop brush. I'm just going to grace the size, um, so it's meant to simulate traditional media brushes. I don't personally find much use for it because it is a little bit weird, like I don't really get that Ah, sense off traditional media watercolor oil painting with it, even though it's trying to emulate or simulate that I don't feel like it's doing a good job , but if you like this type of style, you will find quite a lot of them under the bristle brush category so I can open up just to show it to you that there's actually quite a lot off different variations off the same thing. But they will look or quite similar to what I just showed you before, so there's not much variety in them either, but yes, so that's that's the best bristle brush category, which I'm least excited about. On the other hand, we have things like Callie graphic brushes with which you can draw things like this, especially if you're using a tablet like an intercourse or Santic tablet. With these, you can actually make the make the most off these calligraphy brush is so the cool thing about them, um, is that you can draw with different ah length or different, with depending on the angle you are drawing. So I mean, just double click on this brush here and show you that when you are working with the brush that's set to not be completely circular but more narrow like that, and especially on an angle, then you will be able to draw ah completely differently with it, depending on the direction you are drawing. So you see that this already has a completely different thickness, depending on the direction I'm drawing with it. So with that, you can imagine when you are drawing letters is going to look much more interesting. And of course, you can set that angle to the side as well. And then once again, you will get a completely different look, depending how you are drawing with it. So, um, when it's set to the side, of course, we can increase the size of it. That way, any vertical lines will be very thick, and then horizontal lines will be much thinner. So depending how you set up your calligraphic brush that is going to help you to achieve that result. Ah, but what's even more interesting is something that we've already showed you in previous tutorials. And Schumi is using this quite a lot in her art, the pattern brush, which I'm just going to show you a very quick example here. If I save this design as a pattern brush, I've already set it up, so it's going to repeat quite nicely. Once it saved, I can now start either painting with it. So if I use the brush tool and have that pattern selected. You will see. I can start painting with it, and it will follow whatever direction I'm doing. Or I can also apply it to shapes like this circle, which is quite nice. And of course, if you are using a pattern brush and you decide you want to change its colors, you can just go to the color or re color artwork option. And there you will be able to. We work with the colors so you can adjust them very easily like that, even without expending it. The only thing that you would need Ah, in case you want to, for example, move a circle every or just delete. Let's say every second circle for that, you would need to go through the object menu and choose expand appearance, and then you will be able to use things like the direct selection tool, and you could select, say, every second circle and so on so forth and delete them like that. So that means that this is not a brush applied on a circle anymore. It's completely expanded, meaning that now every element here can be easily tweet and selected and modified. So that's just also worth remembering. Expand is usually a useful feature when you're working with brushes and you want to customize them a bit. So the last get agree that on. Actually, that's not the last one. But this is another category I wanted to show you. Scatter brush. Now, I have a few elements here already. And if I just dragged these into the brushes panel Ah, here I can choose. Get a brush click, OK. And I can set up whatever feature I need on it. Ah, I will probably reduce the spacing bit and I'm going to increase the scatter amount. Something like that rotation is probably not needed the size I can set up to be probably randomized. And when you choose random, you can set a tolerance for it. So you can say how big and how small you want the minimum and maximum sizes and then spacing probably can be fixed. Scattered can be fixed as well. So if I just say OK now, if I use a brush tool and I have the scatter brush selected when I'm drawing, you can see it's going to keep creating multiple very rare instances off the same brush, so I can very quickly build up like forest, as you can see, and it's a great way to quickly create a backdrop on a map, for example, and all kinds of things like that. Of course, I would need to tweak this to make sure it works the way I wanted it, but I just wanted to show you quickly how it works and then last but not least, the image brush. So this is an image that photograph. If I zoom closer, you can see it. And if I save this as a brush when I drag it in here, it's not a separate category called image brush, but as an image, it can be turned into a scatter, an art or a pattern brush. Now, I would normally use images for pattern brushes because they work really nicely as long as they're prepared the right way. But the only thing you need to pay attention to, and that's why I'm showing this to you, is that you have to. First of all, I m bad the image so it cannot have a link image turn into a brush that images to be embedded, so it's making sure that it save into that document and then if we are creating a brush from that, so let me just drag this in here and choosing pattern brush. Now it should work and I click OK and then using the brush tool having that selected, I can start growing with the image, which is pretty cool. And of course, if I have the brush toe set to have the current path selected, then it will be able to even continue the previous line. So I'm just delete this previous one. Now you will see that it's continuing the path so I can actually build it and continue that line and drawing it. Or I can even drew over sections that I don't like. So that's all I wanted to show you today about the different categories of brushes that we have an illustrator. I hope you found that useful 32. Day 30 - Scribble Effect (Ai) #89/365: - Hi , everyone issue me from Yes, I'm a designer. I hope you guys are well, he cut. Pattern is the pattern that's quite popular within the Indian, Indonesian and South American arts as well. It's when the artwork itself is blurry. All has raw edges. Traditionally, it's a dying technique that's used, but you can manipulate the effect in Illustrator and create a victimized version off the cat pattern. In this session, I am going to just briefly walk through how I clean up my design. I created this element using the Adobe Drew application for me is alot easier, but you can directly draw your design in illustrator using the brush or proto. Why I tend to do. First of all, is using the smooth tool I clean up the edges on reduce the anchor point. I also made the artwork astray as possible and just get rid of anything that doesn't feel right. So once the design is re fine, I want to create the scribble effect. I like to have separate scruple effect in different parts off my illustration. However, you can select everything together and create a one gin eerie global effect that you want so Once you have your image selected you simply going to the effects panel Select I lies and scribble. This has endless option. I personally love the tight effect. I like to have my elements closer together but you can again real free to play around with whichever set in that works for you. This seaweed is all of experimenting and help you enhance your own creativity. They're going back to my design. I tend to change the angle around the bay. I've also played around the variation the spacing on overall. After playing around with it for a while, I've decided to stick to this day out. I'm really happy with this. So one will do now is simply just colorized my stroke. So once I've decided on the color, I am trying to come up with the composition. I tend to experiment with the composition first before moving on to the pattern maica itself. Once I have a rough idea, I tend to select everything and then go into object. Hatton make this option is again fantastic. There were so many preset available for you. You can go to tile and choose different options on how you want to see your pattern from grade two column to break. You can also make further tweaks your pattern on again, see what works for you. I decided to simply just completely updated and try different Hyo type again. I'm not happy with their. I'm going back and forth until it feels right for me. And I think I am getting there on That's it. I will stick to this pattern. I hope you guys enjoy the session. If you want to know more on the pattern tour, you can check out our YouTube video on pattern Maker. Remember to have fun. Enjoy experiment. I will see you guys on the next video. Bye for now. 33. Day 31 - Mesh Tool (Ai) #90/365: - Thean this tutorial, I will be going through some off the tools that can be applied in 40 shop that would create a really cool fluid backdrop effect. Companies such as Adobe Asana have been using these Grady in textures for the U. Y. You can also use it in fashion in editorials, so it's a really cool technique to land. First thing I would do is copy the artwork, so if you click common or control, see on, then you can place that into food shop. As a smart object, it is best to place in a small object because it will keep it in Vector for months. And you can apply smart filters once the violence place or you have to do is go into filter and select liquid fire. So that's shift common. X. Once you are on the liquefied panel, there are several options available for you. You can warp the artwork. You can tree care, plucky, bloated. The options are endless, so I will recommend for you guys who play around with an experiment which works for you. A. Some really cool abstract effects. If you want to undo any changes, you can use the reconstruct tool by pressing our brush over the areas that you want to reconstruct. As I mentioned aileron, once you place your image as a small object, the filters will become small futures. So in this case, the liquefy tool is a smart filter, which can be turned off and on. So this is a great non destructive workflow that you should be practicing. So I really like this combination I love. The color is really fluid, but I still feel like I want to enhance the colors. So I am going to apply a adjustment layer. I have decided to increase the saturation on really enhanced the color pop, and I think this really works. You can play around with multiple color option again. It's totally up to you. Creativity only develops were experimenting with different techniques, so I'm just going to fast forward and show you the composition that I go through again. Like my previous video, you can see that I go through so many changes, try different effects, try different type of a free on, really play around with it until I feel like it's right again. Play around experiment, try different versions. It's always great to get feedback, form someone who's not working on the project. I hope you guys enjoy the session Fear feed to download my files or create some backdrops for yourself using the mesh tool on the liquefy option in 40 show. Good luck, and I will see you guys in the next video Bye for now. 34. Conclusion: congratulations for reaching the end of this year. Long course. It's a massive achievement and we hope you enjoyed it as much as we enjoyed creating it and have gained planting off useful new skills. Don't forget to do the creative assignments as they will not only help you to practise the techniques you learnt, but also to produce designs and illustrations to be proud off. If you found this course useful, please leave a review on it to help us produce more courses in the future. I hope to speak with you soon, and until then, have fun learning.