365 Days Of Creativity - Month 4 | Martin Perhiniak | Skillshare

365 Days Of Creativity - Month 4

Martin Perhiniak, Design Your Career

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34 Lessons (2h 59m)
    • 1. Welcome

      2:45
    • 2. About the course

      3:21
    • 3. Day 1 - Photoshop Easter Eggs (Ps) #91/365

      3:23
    • 4. Day 2 - Clipping Masks (Ai) #92/365

      8:57
    • 5. Day 3 - Data Merge (Id) #93/365

      5:22
    • 6. Day 4 - Shape Selection (Ps) #94/365

      7:36
    • 7. Day 5 - Capture Colour Palettes (Adobe Capture) #95/365

      2:55
    • 8. Day 6 - Bokeh Effect (Ps) #96/365

      5:40
    • 9. Day 7 - Using Scale (Theory) #97/365

      5:32
    • 10. Day 8 - Symmetry with Transform Effect (Ai) #98/365

      5:16
    • 11. Day 9 - Columns within Text (Id) #99/365

      3:12
    • 12. Day 10 - 3D Layers (Ps) #100/365

      3:40
    • 13. Day 11 - Working with Symbols #101/365

      3:14
    • 14. Day 12 - Character Art (ProCreate) #102/365

      2:08
    • 15. Day 13 - Creating 3D Graphs (Ai) #103/365

      3:45
    • 16. Day 14 - Line Length (Theory) #104/365

      2:51
    • 17. Day 15 - Colouring Old Photos (Ps) #105/365

      6:21
    • 18. Day 16 - Drop Caps (Id) #106/365

      3:55
    • 19. Day 17 - Focus Area Selection (Ps) #107/365

      2:39
    • 20. Day 18 - Cover Text (Ps/Id) #108/365

      3:07
    • 21. Day 19 - Fan Art (ProCreate) #109/365

      5:20
    • 22. Day 20 - White Space (Theory) #110/365

      2:16
    • 23. Day 21 - Using Brushes (Ps) #111/365

      3:12
    • 24. Day 22 - Symbol Tools (Ai) #112/365

      2:51
    • 25. Day 23 - Using Contrast (Theory) #113/365

      4:10
    • 26. Day 24 - 3D Mock-Up (Dimension) #114/365

      3:09
    • 27. Day 25 - Character Illustration (ProCreate) #115/365

      2:34
    • 28. Day 26 - Text Wrap (Id) #116/365

      3:14
    • 29. Day 27 - Isometric Drawing (Ai) #117/365

      5:20
    • 30. Day 28 - Shape Builder Tool (Ai) #118/365

      1:53
    • 31. Day 29 - Using Lines (Theory) #119/365

      2:13
    • 32. Day 30 - Reflection on Water (Ps) #120/365

      5:58
    • 33. Feedback on student work

      50:51
    • 34. Conclusion

      0:42

About This Class

Welcome to Your Biggest Creative challenge!

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

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

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

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

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

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

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

Transcripts

1. Welcome: are you looking for a course that is guaranteed to help you develop your graphic design and illustration skills using Adobe Photo Shop illustrator in design and creative Absa like procreate, a course that gives you creative projects and assignments to work on every single day for an entire year and helps you to build a killer portfolio? Well, look no further. This is the one for you. I am Martin per maniac, certified adobe expert and instructor. Besides working as a professional graphic designer and illustrator for over a decade, I have filled thousands of people in classrooms, webinars, online tutorials, courses, life streams and conferences like that will be Max. Thanks for being truly passionate about both using and teaching design applications. I am proud to say that I was officially voted as one off the top 10 Adobe instructors. Having worked as a designer for clients like Disney, Mattel, Cartoon Network, Nickelodeon and BBC, I have ensured this course will help you start using for the Shope illustrator and in design like a creative professional. This course is perfect for you if you are just starting out or if yourself the wood and aiming to get confident working on graphic design and illustration projects. This is the largest online course on the platform, with over 700 video lessons and creative exercises that will motivate you to study and work on exciting and entertaining projects every day for an entire year. Studying from this course will also help you to accumulate hundreds of designs and illustrations you will be proud to include in your portfolio. If a full year off studying sounds taunting and you prefer to speed up your landing progress, you can easily cover more than one project a day and even skip a few. That doesn't fit your side. This way you can potentially finish discourse within a couple of weeks. It's a unique learning experience that you can adapt to your learning style and lifestyle so you can shape your own path, the words becoming a creative professional. Throughout this course, she will learn from me and two other designers, which ensures you will learn a variety of design administration. Stine's. We have carefully selected each example to make sure you get clear explanations without wasting time, even while we explore complex techniques. Take the next step in your career and roll on this score snail and make today the first day of your 365 days off creativity 2. About the course: through this video, I'm going to walk you through a bit more in detail. How this course is structured each day will have a project. Now, these with yours were very in content. Some off them will be actual technical exercises that you will be able to follow while others might be more theory based. What's common in all of these videos is that they will all start with a one minute introduction. This is just to get you in the mood and to understand what that topic is about. And then the video will move on to the second part where we will be going through the whole process. So it becomes more like a commentary. So you will see us talking through the techniques. What? The theory that we are covering that day, once you watch the video, was you will also be able to download the exercise files. Not all of the videos will have files, only those ones where we are going through creative projects. We recommend that you watch the full video, including the introduction and the commentary, and then download the file. You can follow along and use the same exact file. So you can practice what you've seen in the video if you have time, and if you feel like you want to practice even more, be advised that you also trying out the techniques with your own file. So whether it's an illustration or a photo you took, you can practice the same things that you've learned on those for discourse. It is recommended to have at least a basic understanding off one of the adobe applications . Don't forget to do the creative project at the end of the course. So once you've seen everything, you will find a brief that you can follow along. And based on this, you can work on a more complex project and the final result you can upload, and we will be able to give you a feedback on that so you can improve The very you are working. We have actually 11 other parts off the series so you can find them here on skier share and you can follow the same structure, work through the videos, which you can do daily or even faster if you want. And of course, each of these courses will have a creative project at the end where you can really practice everything that you've learned. This course is based on a YouTube series that we were running for a whole entire year, and we use that Siri's to get feedback from the viewers and see what they think and how each of these projects can be improved. So this course is based on that Siri's. But it's an improved and refined version off that, and obviously we cover a lot more. So while there we were only going through one minute videos. Here you have for each day, the longer extended videos and tutorials, plus including all the exercise files for some off the bays each month we even have extended version videos. So for those more complex techniques, we decided to go into even more death. So I hope this course will be inspiring and you will learn a lot from it. Make sure you go through all the creative projects and assignments to really take the most out of this course. 3. Day 1 - Photoshop Easter Eggs (Ps) #91/365: - the's drugs are actually the things that we can see in fourth shop. So I'm just going to open a file in for the shop, which will come up anyway soon, and we can have a look at them. Have you guys known about these Easter eggs before I told about weight recently as well? He is a nice yeah, So it's It's Photoshopped has a history off having these Easter accident in the face. I think the longest known that I've seen Wa Smerling lives, which I think stopped in CS three or CS four, maybe only in CC, but has been around things almost since the beginning off for the shop. And it used to be in the layers panel, the panel menu. And then I think you have to hold on old or shift command one off them and click on panel options. So for some reason, they remove this so it doesn't work anymore, but it's worth checking online. So Merlin lives for the shop you will definitely find in the dimensions. Yeah, so that's quite fun. But 11 of the favorites ones for me out of all of the ones that's currently in for the show , I think, is the banana. It's just so funny, and it's a really good one to annoy people. So if you work with creatives and if you want to just mess mess now, yeah, just do the following. If they are away from the computer for a minute, it doesn't take long to do this. Just give it to the toolbar. Click on the Edit two of our option, and then I think it waas holding down the old key and clicking on Done. No, maybe shift command one off them. I always forget I don't do this off them, but there you go. So shift click on Done will bring up the banana. Okay, And if the person who's using the computer doesn't know about this, they won't be able to get rid of it because it's literally like it's nothing that you can turn off. So if they click on it, it will look like is the normal tool Barn. But then make it innovative. Economic paper falls Yes, yes E. I have to admit that we definitely for me I don't know where he's come from, so it's a good, good way to just like I have a love on deaf. Any mess with your friends and colleagues 4. Day 2 - Clipping Masks (Ai) #92/365: - clipping mosques is something that we're using all of the applications, but more info to shop An illustrator in design. Do we have flipping Must? No, no, no. Really, the same way you do it for you. So what would you consider a clipping mask in the design? I think when you put into image into frames yes, exactly. Wreck selection tool. Yeah, anything really in a framing in design behaves like a clipping mask. So there is quite a common thing, like almost you do it all the time. Whenever you work with images, why an illustrator and for the shop? It's a little bit more tricky to know when to use it and how to use in. But to be honest, it's not that complicated. So did you want to see? You know, Just say it's probably one of the most important Features are illustrated for me, and it's a really good short cut to learn on 77 Yes, so the example that we used in the tutorial waas simple illustration off this character and then to have something more interesting on the dress. So if I go into my layers, I can show how it's actually set up. So what we have here is that I have the actual address as a separate object. But then I also have a duplicate which is already set up a za clipping mosque and that if I just move this thing, the group, into that clipping, most section, it seems like it disappears. But then it's actually will be visible within that section. And that is really the key that when you have a clip group within that you will have your clipping path, which is the bounding box, or like the contour off that detail on down. Whatever you place in that group will be only showing within that section so I can move it around freely. I can rotate it as well and so on and so forth. But just to make sure that it makes sense, I am going to just show quickly here another example as well. So if I have, let's say just a simple circle on Dan. We want Teoh have something inside that circle, maybe another shape. So if I just create another shape and I'm just going to set this up with different color just so you can see it, yeah, So if I want to see this shape on leaving the circle, will this work? If I now select these two and say clipping mosque, will I see the rectangle in the circle or not? Do you know, put that the back? Yes, that's the one. So this actually the shape that you want to use as the actually the cookie cutter. So the one that you want to cut out details and just show what's within it needs to be on top. So that's command or control Shift square brackets moving it to the top. And it doesn't matter what color with has, because clipping must don't work with the colors is just simply the shape itself. And then comes roomies. Shortcut control seven. And then, if we look at this in the Layers panel, it's as simple as having a clipping group in which we have the Ellipse, which is the shape that is going to do the masking on then the rectangle. And there is actually a visual clue as well. Here in the layers panel there underline, and that the U had actually just beyond the line itself is the one that means that it's the mosque. But I didn't realize that. So that on the line is always there. You see like you as well. That's always indicating that that is, the mosque within the group can be released sleeping mosques. Yes, and we like reverse it. So if we want that path the circle to become again a normal shape and not the mosque, we can use the same way that we would turn it into a clipping mosque. It's actually just holding down order option together with the same short. And that way we can release it. So now that circle can become again a normal shape. Nice. So that's essentially in illustrator and then in photo shop. It's quite similar. So, for example, if I want to have has just bring up this example, we will come back to this anyway. But if I want to have the image in the background only visible within the bounding box orbiting the shape off this telescope the one that we have on this layer, then here the image needs to be on top. If the shade and then was the short cut to get the clipping mosque working. Ochlik Autor Option yes. Between into layers, and then it will use the layer underneath as the mosque. So the layer underneath becomes the mosque, and it's quite clever. The same visual clue is there the underline layer name. Oh yes, that is again. That only appears if it becomes a clipping mask, knife and once again, is the mosque itself. Belka's B underline. So it's a good way of remembering it and have the connection between the two applications. Cool. All right. Do you have anything to add to clipping less? No, I think we just had some examples show how they have any applied. I think, Yeah, I think you had so sure that we're going to hear nice. These are called examples. This is quite common one. Nothing we've seen in the previous Patriot videos. How again? The animal silhouette is used as a mosque and the image within the shape. Yeah, it looks like this is quite popular way. Well, it was a big old school Now. They outdated. I steal trendy. I think it's it's the multi exposure or what was the other term that they used for this jewel. Do it? No, well, somethingto, I think it's the multi exposure that in photography it's a technique when you take a picture of something and then you expose the same film again with another picture. So it's like a very old traditional technique that even before for the show they used to do . But it came back into fashion as everything on that's what it's similar to. But yet it's it's again the clipping ask more like, for editorial thing, this is they clean the mawr. This I've used could be Marcin. No, in this kind of way, it's interesting for me. To see them used is like containers like like in the previous example. But I've always used the more in editorial bows. It's crazy how, how, like different, how many different projects you can use them. In the end, I love. I love the fight when you can apply it to type of Murphy, I think, can really add a lot of character to your design. It's a cool way to experiment Yeah, mosque and typography, and to get like those layers of meaning in there without filling your canvas up too much. So you've got your You don't have to have your type manual image. It could be the same, but you really get really useful if you've got, like, only a little bit of space to work with. So definitely that's pretty much it just just some examples. This, this example inspired me actually, what you found. This I will becoming, I think, in May or June on that will be a they about Remember the boards Something is the text again used with clipping mosque and then wait. It's coming. Soon you will see it. Yeah, so there's a couple of examples here, but it's either simple shapes or more complex silhouettes. Photography used a scraping mosque. There's so many different ways of using this. 5. Day 3 - Data Merge (Id) #93/365: - the example that I used in the tutorial was a simple business card, but it can be used for all kinds of different things. So I'm just going to open this file up and this is actually the original file I think I had before doing the actual millet merge itself. So I think, yeah, this is the one that doesn't have any pages in it right now. Just this one single page and all you have to do when you do, date emerges to have a text file ready so I can I can show the actual tax find itself. Have you ever used data? Marginally? I haven't No I I've known off it. I think it would be particularly useful for someone quite senior in the company, like a senior designer or even creative director. If you have like quite a few members of your team, that's especially in terms of like that need, like the same design of business card. But there's a lot like that. Separate information needs to be personalized. Eso I think it would be quite good for people who don't have a lot of time there. In quite a senior broker's. It is that a slightly more complex technique. You need to know your way around in design a little bit. Yeah, definitely. And so it's like one of those batch process, like an action, almost that you prepare a database of information, which is simply a tax file. And all you have to do is to put the first line in whatever those entries are. So we have. The 1st 1 is the name than the Kama divided. The next one is the job title than the emails on the phone. And then you just simply leased them all. It can be done in an excel file as well, and then you just export. It is a text or C S V format. And then once you have that ready, this is the one that you need to open up video in design. So these tax file and I have here, if I come back and I search for it, I just need to use the select data source. And then we would just go into that folder. So it was the date of merge assets, and within that, that should be the tax file. So once I imported, it shows up within the panel, and all we have to do is to assign them to the There was Thea Frames that already has the style in everything ready. But what you have to, of course, do is to remove the original tax or the tax doesn't have to be there. Whatever is placed there by the data merch panel is the one that you need so again here I just highlighted Place it in highlighted crazy thing. Go. So it's faster if you highlight the information first and then replace it so you don't have to go back and get it. Yeah, so I usually do it this way. And then if you turn on the preview, you can see straightaway the first country, and then you can even go through all the entries from tax files. And then, if you're happy with the way it looks, then you can produce the actual final file from this by going into the menu and just simply choose export PdF Or you can also say create merged document so that where you will have a multi paging design document, not just under the printers. Exactly on. I've used this technique and honestly saved you so much time on its precise, If you do individually, you can make. So I made a mistake, and I think it's definitely really good feature to try and get into a habit of using. Yeah, I think I was designers. Always easy. France just duplicating editor. A copy and paste attacks. But this feature would definitely save you law. That petition? Yeah, it's a any any monotone work. When you have to do it, it's It's easy to make me stay. I imagine you have 100 employees and you would have to be replaced for values every time. And there's new employees coming with me. You have to add them again. It's much easier to have tax file, have a template like this, and it's so easy to set up. So, yeah, like I'm really said. I think it's definitely, um, it takes a while to get into air, and it is a bit more advanced. Tick needing. But once you saw, try our it's definitely you will use it again. Yeah, like short term pain. Long term gain. You anything? Good way of putting it here. Definitely 6. Day 4 - Shape Selection (Ps) #94/365: - what I did in this tutorial. It was quite far, so it might be a little bit tricky to get. Exactly. What was happening was that I used vector shapes, and these are the vector shapes that are forming the Vector mosque for this layer. So if I shift click on this mosque, that's the original background off this periscope and then on a periscope, its telescope, I'm not sure how. Binoculars. Binoculars? Yes, probably has the best way of saying it. So yeah, if if we extract this from his background, that's how it looks now with the other photograph behind it. But the most important thing in this technique is that if you're working with director shapes, you can have a very clean, sharp edge on your mosque. So having a vector shape used as a mosque as a vector mosque will enable you to have these heart edges very nicely, cleanly selected instead of relying on things like the magic wand, the selection tool. So just to show you guys want what's the advantage of doing this? If I turn off my disabled my vector mosque and I select the image and used the let's say quick selection tool, and I start making a selection off the object because that's the thing I would like to some extent reliable. Yeah, so it's going to make a selection, will find it because there is enough contrast. But once I turn this into an actual selection is going to be very fuzzy, and I only have two more than or to remove it here at the bottom. And then I, like, really pay attention to what I'm I'm going to select It still didn't take too long to get to this point, but I can already see a couple of details that will be messy. So if I now turned this into a normal layer mask and we look closer, how it actually turned out So we can already see the problems here around the edges compared to the Vector Mosque, which looks like that. So it suits the object. So that's the important thing. Like you want to use vector mosques for hard edges and picks a mosque for soft edges like hair and fur and grass and things like that. So the main thing that you need to remember and what I wanted to really show in this example is that you can have multiple shapes in one single Dr Mosque. And as you can see, I have circles, ellipses, rectangles all in one vector shape working together. And what you need to pay attention to is that when you select any off these shapes here in the options bar, you can change their operation. So what they do is either reveal or hide detail. If it's set to combine, that's going to show that detail. If it's at the subtract, it will hide. So this is lying the switch similar to a pixel. Most values back or bite here, you just simply change the operation on the top. And another important option is that the actual order off the object like this circle here that I just selected now is removing all those details but not removing the central part of the binoculars because it's sent order way to the back. If I send this to the top, so if I going to bring shape the front, then uh, having that selected let's do this again, then all of those things will be removed because similarly to like a clipping mosque. Once this gets on the top. It will affect everything underneath yet on any behind everything or if it's set to show with the combined and it will show everything. So it's very important to make sure you have moving in the right place. So you just have to send it back or one step at this time, a war. The way you go back, it's good as well, because it means that you can decide exactly what you do want to show you cover up. So I mean, it's not as relevant with this example. But another example is having the more selected separately means that you can kind of hide and show things as you see fit, which is sort of just one big selection that you're kind of stuck with. Yes, yes. So a vector Moss can can actually allow you to easily select individual elements and move them around and even, like, delete them if I want, so it still has the tractor must just removed that shape from it. I really like that back tomorrow, so I think it's just easier to add delete. Yeah, and another cool thing that I didn't showing the tutorial is that if you wish to add things like corners or radius. One thing is that you can use the direct selection toe to make changes. You can use the arrows on the keyboard so you can really align it where it needs to go. But if I have this shape selected, I can use the properties panel and I can add corner radius as well. So it just simply click and drag this icon and you can always go back and change it. So that really helps in this case as well, I think. Yeah, yeah, yeah. And the same thing. What? What I've done in this tutorial, if I want to, like, remove this detail here, I would just add another rectangle, so just simply go in, select, subtract shape and then draw a little rectangle in there. And then the important thing is you have to make sure that you are drawing into the clipping mosque. If for some reason it appears as a separate shape, that is because the option appears set to shape. So I'm just going toe under that. It always happens when we you you have to pay a nation. So if I select the Rectum mosque, have to make sure it's also that accepted path. As then it's already set to subtract. So now if I draw so yeah is a little bit tricky. But what? One thing that I would normally recommend Teoh people to do is to once you have a shape, you can copy them or click and drag and as much faster to keep creating new ones. So that way I just copied this one and in orderly works, and I could just place it up there, and I could do the same on the other side. Maybe select both of these together and or click and drag them over there cold. It's like anything, isn't it? Once you start getting used to it, your develop your own way used to make things a little bit faster for yourself. Get used to it, but yes. Oh, so it's certainly a useful technique when you work with hard edges on objects 7. Day 5 - Capture Colour Palettes (Adobe Capture) #95/365: - capture colors. It's the capture app, the mobile app. Yet now for this one, I don't think we need to show this on the mobile. It is something that you can actually find in the creative cloud libraries. So when you capture colors, they can be brought into theater. We application that that stop applications, um, through the capture app, and they will show up in whichever library you want to bring them in. That's the best way of doing it, because then it's consistent and you can access those colors in all of the application straight away. So, like these ones, I think I use capture after to grab these colors from something. Okay, so it's a really good color inspiration at visit that we feel in the go. And if you find something really cool, it's a good way to capture those cutters. Yeah, using your work? Yeah, it's cool. I think my favorite like thing that it can do is a It can import existing photos from your device, so even if you have only just downloaded the act, you can start using it straight away. And there's been loads of images that I've taken over the last few months that I've put back into it and then made like, a little color library. So you already have those pallets there to work in future projects. So I think that's my favorite base. That is not just you. Can you stuff from the past? Not just the future, So yeah. Yeah, definitely. And so it is one of those free APS that even if you don't have the adobe applications and you don't work with them off and you can still use it for your own personal project and especially if you're so new to color, or because understanding color is hard and so is France, which on the same collects to study and see which color works. So it on that up is a really good way to the Oh, yeah, definitely. 8. Day 6 - Bokeh Effect (Ps) #96/365: - now the bookie affect itself. I don't think needs much explanation. It's a very commonly used technique in photography, so well, it's actually like a result of very shallow that fulfilled and having any details in the background, like the lights completely blurring out. Now, this original photograph that I, using the example had already a little bit out of focus background. But far from what we can see here. So this was the original image. It's already a shallow depth of field, but I further emphasized that with the okay effect and is just simply using the Blur Gallery. So when you use the Blur Gallery, you can choose whichever blur you need. That's five off them. The field Blur Island, iris blur and all the other ones. But they also have additional effect options that you can set. And this was simply just using live bouquet and setting up the light while use here at the bottom as you can see it. So if I just normally blur, it would look like this. But with the additional effects, it really brings out those light details. And apart from using this is a smart filter on a smart object which makes eternal destructive Thea Advantage of doing it like this is that I can mosque out the effect. So I actually went over here and made sure that the hair doesn't get yet because then that light was coming over it. So I had to do a little bit of retouching there as well. But just simply having a mosque means that you can really control very one disaffected show and you don't want it. So that's just simply that. Did you collect a few examples off? So let's see some. These are these are just simply photographic examples on some of them. So there's the Heineken one that's the 3rd 1 in along with top. So this is an example of it being used commercially. I really like this because it creates a really good point of focus, like you still have, like the brand color in the background, and also it's remind you of nightlife being out on the town, you know. But actually it puts your focuses of you are completely on the bottle on this kind of like angel image on top. So I felt like they use it really well here, and it's really appropriate for the product. Yeah, yeah, I do really like the angel I know We're talking about the fact that but yeah, like the bouquet, affect itself. And just general. Using shallow depth of field is a great way to have, like, an atmosphere instead of the tail in the background. So, like as he said, you can you can tell it's a night scene, like going out partying or something like that. But you don't have to see what's there in the background. It still gives you that impression. It's a really good way to communicate that information loving, too explicit. But then I can see you have these creative examples as well. That's really cool. I put this in your just cause It's It's just a bit, Yeah, I think it's important, Like to experiment, especially with something that's quite a playful effect, and you can use it in quite a few different ways is important to remember that could be used commercially. But also, you know, this is a much more playful take on, and I think it was really well, yeah, it's done really nice then. I think this wasn't Photoshopped. It was actually done somehow having that light in the background and aligning the camera and go. And then it's probably was actually taken Nothing. So it doesn't have to be a foot. The shopper factors very cool. Yeah, I actually really liked this hanging training here. I think this I decided to go this one because I think it's a production. I think that's a really good point again, you know, you're setting a mood with the effect, you know, It's like like a young, very trendy household on this. It's really selling the product to me like I want to go by it. I think again, it's very contemporary. It looks very warm and inviting. And there's just another great example of how you can use the effect to set a mood. Yes, yeah, so this is This is obviously something again. I think they shot it like this. So it waas some glitter in the background and they used a very shallow that full field, a certain lands, and he actually waas taken like this. But the very astro didn't Photo shop is a very old like faking in Muncie or simulating it in your own compositions, and then you can use it to your advantage 9. Day 7 - Using Scale (Theory) #97/365: - So for the scale video, it was actually we talked quite a lot about about, like trying to make sure that we highlight the most important on information about what scale is because it's not necessarily just about how big or something something is. It's also to do with that where you're placing it on the canvas. It could be if it's further forward and things behind it that effects with the whole debt from scale of the composition. So, yeah, I think that really, the most important thing to remember is that if you're looking at your composition on your the important elements off your design aren't standing out on getting lost, then you probably need to have a like a readjustment of the scale of your work. What do you guys think? Yes, definitely, I think is a such a important principle, and it's something less if done right. You don't know what to say. Well, when something is out of proportion, you can tell we don't have a bad example to show. But I think when he's badly done, you can tell it it doesn't work. Yeah, yeah, so everything has to just have a good balance and have a good relationship with each other . I think, yeah, that's a That's a really good point because I think we demonstrates it with demonstrated it with illustration. But what's important to remember is that there's scale in any kind of composition. So, you know, there's scared with them. Posters, business cards, weapons I initially, anything that you look at, it's important to consider scaling, which is why it's a big topic. And it was a tricky one to summarize. So yeah, yeah, thes were actually used it for life stream on Patriots this month or for March Livestream session. And I think way talked a little bit about this. I mean, there's a lot of things wrong with some of these examples, but scale is probably again something that, for example, in this one that we talked through that the title is completely lost. I take some time by by the time I don't know what that is, just down that you have the full, but it doesn't nothing. I think it's a whole composition, and you think it's just a bit is very out scared, too busy. Their scale is really bad. You don't want to be oh, elements. Yeah, very bright. Yeah. So probably there's no point of repeating us with the same example, but yeah, like just coming back to what you said, Yes, I make to, like, summarize. Best way to understand skill is to observe other designs as well. It's a really good point, but just you have the best way to learn. Used to learn from others and see what works. Nice. Yeah, like sometimes sometimes doing something really out of proportion can actually work if it's intentional, like instead of using So just just a simple example. If we have an in design page, I'm just going to create a new page in here So that say, this is our page And then we want to put an image in here. So I'm just going to go back Teoh one of these images. Um, I don't know. Which one shall we use? It would be Maybe this this little character. So if we use this small on the page somewhere, then it is an illustration is just something that is going to You can see the whole detail and you can tell OK, this is an owl. And that's something to do with the design. But if you make it really big, okay? And maybe put it down here, then you don't have to show the whole design because to tell, yeah, the view of will be able to tell what it is, as long as you don't copy that too much. But it is taking up over a see more space on the page, but not the whole page. Because if I put it here, then we don't have space for anything, so it's much bigger, but the importance of it might not be much more so. It is a side element on, and you're just showing a fraction of it. And it could even be Morven sickle to show it something like that. Yeah, Yeah, that brings or something playful yet. So this is a really good example of how scale doesn't necessarily just have to mean it being big or small. Yes, this is a perfect example. Nice of Yeah, So there's so many so many rays or, like, really composing things. And sometimes exaggerating size is a very to go life 10. Day 8 - Symmetry with Transform Effect (Ai) #98/365: - if you If you ever have to do symmetry, do you just copy and rotate? Or what would you use before this video? Yes, with high with ideas. The rotate toe, which that it was useful. It's useful on. It's still a lot faster than trying to draw the entire shape with mental, but again, it's it's considered. It's not quite as consistent, and the joints don't mean up particularly well. Eso actually like, you know, after we I I saw your tutorial and stuff and we talked about the technique. Little back. Really cool. Yeah, like what I would suggest is to create, like a template similar to this. So if you have the file that we gave you with the how that could already be a template that you're using where you have the guide in the center, you have a group within which you make sure that you don't go over the the center line. So anything that you do on this side, it's fine. Some facts like that being, for example, I can move up and down. I can rotate it, and you can see that it's working on both sides. Fine already, because the details on the right side, in this case are all generated by the effect that is applied on the group. So that's the group element there selected. And if I go into the appearance panel, then we will see that there is the transformer fact on that group. If I turn it off them, that is just like a reflection that is not physically there. It's just simply repeats whatever is on the left side. So that's how simple it is, as long as you have a group which has this effect on it, with the settings that I showed in the tutorial. Simply reflect acts, set the copy toe one and decide which side they wanted to be reflected on to. So if you are drawing on the left side, select right edge. If you're drawing on the right side, select the left edge and that's all you need. That's great. Is great for consistency within your design as well. Being able Teoh make updates that just happen at the same time, instead of trying to edge them up and then you're kind of like create a line and it might not be quite picture perfect vector perfect in this case. So, yeah, I think this is a really good way to make sure that when you're working with an illustration that symmetrical is completely, so much going. That's very professional. Yeah, yeah. So it's It's time saving and more professional either. As you said yes, So I think that that's about it. Just as a side note in photo shop, we've done another video on that. You've done it, I think, in previous months that information. Now we have the symmetrical drawing setting, which is stealing the technology preview option. So I think you have to go into the preferences in for the shopping. Under technology previews, you have to enable the pain symmetry feature for that to work with the brush tool on. Then it will come up here on the top. So then, if I go into separate lier and so like that and say, I want a vertical guide now, if I start painting around this, it's going to appear on both sides. I think you might have had some. We have some examples, but I just do show you how symmetry can be used. In this case. It's just a a lot. This is a good way to again reduce time and just create a cool composition through using symmetry. And I also want to show an example, or even like longer, such as McDonald's. It's a simple swell that's turned into an M B. A really good point again. Another logo. But I love the way they used to be. Yes, so you can use symmetry designed. It doesn't have to be identical. You can alter these single elements yet, and I think your references here they are symmetrical but not 100% symmetrical because they're all hand drawn or painted. In this case, eso Even if it's not like a force perfect symmetry, it's still going to help to create the pleasing musician. 11. Day 9 - Columns within Text (Id) #99/365: - this simple example of using the heading and in a separate line, even though the whole thing is in one tax frame. We have these details here, especially, I think, that the first line is set to be spend across the two columns. So when I mean normal view, so I pressed W and we can see the actual outlines. This shows that it spends across these two columns and similarly to that is just worth mentioning that you can do or so spink splitting columns. So if you already have text video column like this paragraph and I go into the paragraph settings and I find the split and span options, I can choose, maybe split, too. And that will create, like a mini division or into small columns. Vidin and one of the existing color really useful. Definitely. I would have done it the other way, created separate text rings. Yeah, yeah, I think that's what's great about being able to make columns within a single text frame, because you can treat it as if it's an asset as if you, because you can just pick it up and pull it across your document without having to try and , like, select all of the different parts and making sure they stay together so almost acts is an image. It's all static in place. And you can edit it later. You don't need to worry about. So you're not gonna get locked. You're gonna lose a title somewhere in a big document. Yes, exactly. So it's much easier to handle. Want extreme that multiple attacks frames? Andi, make sure that the copy stays together, as you said. So whenever you can work within want extreme try to do that instead of having so many elements. Which is I think what? When I started, I like to do that. I told you, I'm saying some painting body No. One. And it was just like long on there. Wa Sno Consistent. The leading was wrong thing. This is definitely really good practice. Yeah, I would definitely using it 12. Day 10 - 3D Layers (Ps) #100/365: - so the example that I had was the wrong with the fish, and I think this is the final result that I ended up with in the tutorial. And just to show how integrated three D layers can be in Fort Shop, I used an adjustment layer to change the color off the fish, and I used also a mosque, a layer mask to make it look like it's behind and a detailed within a photograph. So that photo is just actually behind the the fish. But by using this mosque, it makes it look blankets dead. And if I detach the mosque, which I did here, so there's no connection between the mosque and the Lear. If I start rotating, the fish is still sort of going toe work apart from the adjustment layer. But you can see that it still feels like it's behind that detail unless I move it completely away from it. But wherever I actually set up the mosque, it's going toe work Nice. So yeah, the main advantage, and I don't want to spend too much time on this. The main advantage of introducing three D layers into photo shop is that you can treat them as normal images. You can master makings adjustment Lee years. You can also use Lee your styles on them. So if I double click on this layer even though it's a three D layer began still have things like drop shadow or media we can do like a bevel and boss on It s Oh, it's exactly the same thing that you would do on other imagery years cook covered over the same features No. One. Yes, exactly what you have the advantage of when you're using the move toe. It's not just simply moving it, but you have the option to change it in perspective and have every side visible. But probably the best thing is that you can actually paint directly on the three deal jets . Okay, so if I pick a color like that one there, I can make my brush it smaller, and I can just pain directly onto that object, and you can see how it's going to actually go through different details in different angles and his on air. If I turn this around, that is actually added in three D space, and it's already symmetrical as well, by the way, because the same texture is used on both sides. Nice. That's really cool. Yeah, I'm impressed. Yes. So there's so much you can do with three D layers, and you don't have to be learned much about them. Just keep using Photoshopped that you would normally work. But you have a three New Yorker. Nice. 13. Day 11 - Working with Symbols #101/365: - for example, that I had for the tutorial was a simple branding project when the logo obviously is going to repeat throughout the composition, so you can have multiple art boards or you have one big our board and multiple elements that you didn't save out as assets. But you want the local Toby the scene and the easiest way to do that if you are working on the local and it's still not like I could refined, and you might need to go back and make changes to it. And the best way of using it is a symbol. So, like this one here is a symbol on the way I can tell that is by having a little cross at the center point of it means it's It's a symbol and from the properties panel or from the control bar. We can also see that it is a single. And the point about working with symbols is that if I double click on this, I can edit symbol itself. So, for example, if I delete the stick triangles and double click away, all of those will be gone from the other examples. So if I need to change the name or the phone off the base camp tax year. So if I just select that Andi rename it Teoh, I don't know. What shall we call it? Can you? Andi, I go back now it again updates on all of the instances in the design. So yeah, working with symbols can save you a lot of time. And yeah, I think that I think it's really useful if you are still discussing with your client, like what? You want to leave in a design or if you want to make any changes or if you want to show them a few different versions with, like, edited and it's made to the logo so you could change it, say that was a J peg and then change it. And it's not going to say if he is. No, it's not gonna take you a really, really long time. Like instead of updating each and every one individually is very time consuming. Yes, So if it just does as a useful point to mention here, if you want to work similarly to decent photo shop, I would recommend to check out the linked smart objects 14. Day 12 - Character Art (ProCreate) #102/365: - this was actually funny. It was one of the things that was inspired by one thing that we just talked about Something silly. Yeah, I think it was the ticket banana recording way At the time, we were just having a chat in between takes and it just came up. Yeah, we just talked about it, and then it was such a cool thing. I had to draw it. I like with tricky, but it's like I imagine how a tricky thing this was very close toe Teoh. So the whole point of this tutorial waas really to show them how important is especially with, like, illustration character. I do like, get the attitude in the administration, so you have to be creative, but you also have to exaggerate things, So this is obviously just like an imaginary pose. But if you have a normal character, you should always exaggerate that pose. Wherever you wanted the character to represent, you need to exaggerate it on and yeah, that's when he's going to work 15. Day 13 - Creating 3D Graphs (Ai) #103/365: - three D graphs. I think you collected some references more that one. I really like this because it it's a clever is a beautiful and very clever infographic. But it's also really is obviously three dimensional is really easy to pick up what it means . S O. You can see that it's almost shaped as if it's an iceberg and you can see immediately. You don't even have to really read it that the smaller amount on the top is the web that we access and then this deep. This huge amount is the dark Web, which is the part of the Internet that, you know a lot of people don't really access and shouldn't really access. But again, it is a really I thought was a really good example of how information can be communicated really visually and really quickly without you don't have to go like you know. Sometimes people think of Infographics is a little bit stuffy and mawr for like, board meetings, but actually this is a really good way to communicate Teoh a wider audience that you know this stuff does go on, and they can get in and standing of that quite quickly. So Definitely. It's a good way to simplify really difficult topics. Yeah, beautiful issues, but in a visually attractive way that will actually engage people. Yeah, this is called Yeah, it's like a similar idea about, like, the distance of traveling when you were, like, cycling and stuff on Bleich. The radio, which you cycle uphill again. It is kind of like a piece of design within its own, right? Yeah, exactly. I mean, I could see it in a magazine easily, so yeah, again. It's just another example of, like, a three d graph, but that's used not just to communicate information, but also to attract the viewer. Yes, yes. So you like these other more common lights? Just simple. Three D? No, that one's quite cool. I like think they I think they have. Yeah. And which I really like that you could You could replicate the style digits, Lee. But this obviously this is really cool. You can tell a lot of effort into, and I like the way they've made a composition out of it as well. It becomes a whole piece, and it's a it just shows how important, especially for doing that really boring. Infographic and they can be quite hiring. More retiring. Yeah. So it just shows that you can visually be. You can experiment with different things. It doesn't necessarily have to be full of numbers. Yeah, Grady's This is really cool. Nice. Different. Yeah, Cohn's. 16. Day 14 - Line Length (Theory) #104/365: - Theo line length is something that it might know initially seem like. Particularly important is not as an exciting topic is perhaps some of the ones that we've covered. But for me, I I particularly find it really interesting because you know, it's a lot to do with being able to capture and keep your viewers attention so your visuals will really draw them towards your piece of work. But, you know, being able to keep them there and actually communicate what water is you're trying to tell them, is a lot down to the way you set your type. Online length is one of those really important things that if the line is really long, it could be really intimidating, Teoh read. And you know, you could just lose focus halfway here. So trying to keep people's attention span is a tricky thing, as Jen in general, is a designer, let alone if it's a heavy amount of text. Yeah, yeah, it can be both bad if it's too long or too short. Is it too short? You just get annoyed like Come over is going back and forth, but when it's too long, then it's really tiring, Teoh remember where you were and make sure that you don't jump line exactly. So, yeah, like, what's what would you recommend? What was the recommendation for line length between 15 70 characters? Nine is probably the best. Like this one is 80 84 characters. In the moment, it's already starting to get a little bit too long, and so it probably would help to reduce it a bit or set it back the way I had it into columns. Exactly. And that's a really good point, actually, that, like a lot of these videos, it's being able to understand how Teoh use line length will also help you understand how to use your columns and best set up your in design document in general so that your final pieces professional and easy to navigate as of US point good. 17. Day 15 - Colouring Old Photos (Ps) #105/365: - coloring old photographs. That's something that I used to do quite a lot in four to shop on. Guy developed a few different ways of doing it, but instead off going through the technical aspect which I showed in the tutorial. Anyway, it's not that difficult to do it because you just set up a separate layer. Use blend more words or you can use, or so or just a simple coloring over the same layer. Even you can do. I just show this quickly if I go into for the shop just opened up one of thes. This is actually a bad example. I wanted to just talk a little bit about how coloring can go wrong, but yeah, like one of the simplest ways of doing it is to set your bland moods up. There s the color or overlay. Or you can use many off these, depending on what color you need to use. But so, for example, if I picked that color up there, you can see immediately being yes, but the problem with the thank that if you are using just one single color that is used here as well, it will make it look fake like plastic. It doesn't look real like that. It doesn't off like everyone said, even like darker hair would have so many different shades. Not just the girl had that I have, but also other shades like we can see on, Emily said as well. There's so many different layers off Normally. That would be like dark early years that bright in the years, and the combination of all of those different shades and values would give you the final impression off the color of the hair. But there will be so many different colors, not just one. Like like very garish yellow. Yeah, yeah, So the color I'm using here for the face already looks a bit more natural on the hair if I'm just using it there, but it would still need to have a little bit of variety for a short cut. Is command old control held down at the same time, or old shift? Right click? I think on PC is the way you bring up the heart color picker or had some display, and in that one, you can very quickly change colors, and you can see already if I start mixing it a bit. It's already start to look more natural. So coming back to the examples here, here's another one that is very like strange, because is just literally one color. I long cause of skin. The extra. Yeah, it looks creepy. Assassin, and then the other one is again. Same thing like head is just seeing single one color. It's a big selection, and then one color block on it doesn't work, but then look at like something like this where whoever did this really has a good understanding off color. That's all it takes, and it looks so realistic. Amazing. I probably wouldn't be able to tell that it was coming if I if I just seen that version. So that's that's a really nicely down version or this one as well. It's so realistic. That was a real one. Yeah, yeah, eso because it's so subtle, so like it's not forced, and it really does a good job on the skin like so realistic things. The skin, the shades and tones, the values on the skin. And then we have also examples when there's loads of details, but they can still make it look good. This is just can't a long time winning Teoh. Easy, Thomas is a lot of patients. Yes, yes. So So once again has to have a very good understanding off how color works Wherever did this. You can just use one color because that the bread that is apparent in the image has so many different variation, depending units in the dark so nicely with details in this one's is very impressive. Yeah, so that that's a great one. And then, of course, like depends on what type of photographs you start with. You might need to do a lot of work before you actually start colorization. So, like this one, Waas had to be repaired first in for the shop to them, you can start doing the colorization. So some of these photographs needs a little work in both sense, so yeah, cool. Actually, have those selling here. I would just quickly open this one on. There is a like, a research group in Berkeley in the U. S. Has who developed an A. I powered, like, really technology that turns black and white images automatically into color photographs. And this is actually already done by that software. I think TV and Adobe sense. A technology is also used for this. And I think it's we're going to see these very soon coming up for the shelf that not only you will be able to turn photographs from color to black and find Bob the other way as well on uh, yeah, so this is a technology that soon we'll probably will be available for everyone to use. 18. Day 16 - Drop Caps (Id) #106/365: - way have we have some slightly more and eight ones and some slightly more simple ones. It really depends on the style that you want to go for. But I think what's like here? You know, you've got a piece of basically a piece of design in itself, but it's a good is a great way to grab your views. Attention, because it is the tea is technically the start of the sentence. So is a really good way to lead your viewers straight into reading. They don't have time to kind of get distracted by something else there immediately interested and pulled into the the copy itself. So I think this is a great example of a very ornate but still modern, really contemporary. Where is the example just before is more of like a It's got more like a old fashioned, oldie, worldly kind of retro kind of feel, which again, what's with this spread? Really well, so again, it's just about trying to find Andi example before again is very modern and like clean and carbonaceous, and so it's really important to remember the the drop cap you use. It should reflect what your spread is communicating as well. You can't just kind of pop it in. You know, it's always consider the whole story. Andi, try to tell a story we did. Because it is an entry point and entry points. Our readers will start to engage video design, and it has to be a very, very export on. Element is it's big. Normally, dog caps are quite big. You have an example here that smaller but even that is is quite a crucial part of the design. So it has to be done, right? Yeah. I can see the doc caps is a graphic. Elements apart the design. So it has to what will with spread. I agree. Yeah, and that I mean, it can be more subtle like this one, but it can be also almost like a complete, like, half off the design is the dropcam. Yeah, it was like a text wrap. This one? Yeah. Drop cap with tax, rap and administration wine. Yeah, it's really cool. It's become it's become one of the like central elements itself, so you can use them that's subtly or auras bold. Aziz you like, as long as you get it right. The really cool thing to experiment with, especially in the editorial. This was just a blood that I found what I post I found them Creative block on is actually about old letter press typography. But if you are into editorial design or you're interested in typography or how you can experiment with letter forms, this is just a cool thing to check out is absolutely beautiful. Let's oppressive something that you know. It's a very traditional technique, and it takes a lot of time. But there's nothing to stop you from creating on a typefaces digitally on. You can create some really cool stuff. So, yeah, if you enter anything like that, check this out because I love it. 19. Day 17 - Focus Area Selection (Ps) #107/365: - if I go to the select menu and choose focus area, that is essentially what is going to do is to try to identify which parts of the images in focus and which is not. And you haven't in focus range, which you can increase. So if you feel like that, there's no enough detail selecting you can increase it, and then there will be more details at it. Now you can steal manually, override details. So if I want to include something, uh, okay, remove it. I can do that. But it works even better. Things they introduce now the additional feature called subject or subject, which relies on the focus area technique. But this one is a little bit even smarter because what it does is it uses an image recognition technology, so actually looks at your photograph and tries to find the subject of the photograph. So you have the focus area is great, but since they introduced the subject more, I'm reliable. Yeah, even though we had a difference in the death and I mean the focus we had, this lady, clearly in focus is still couldn't detect it as well as the subject selection. Yeah, just keep in mind both of these, and you can't rely on them as, like a perfect final selection. But they can save you time and make it faster to get started. No. Stephanie. Yeah? 20. Day 18 - Cover Text (Ps/Id) #108/365: - magazine cover. That's something that you needed a little research for us. So would you like to talk us through these examples? I think on these examples we were mainly looking that traditional layer over a magazine cover. So I think current ones can a slightly different a bit more modern. But this is still quite popular within the fashion industry on magazines such as Void and L would still do their whereby the model is a front off the typography, so the title is always behind the head. But most of the time the model is the main focal point on the text. The title, in this case is behind the head on. Usually they, they say, to use a clear in me. So avoid really noisy background and you can already tell this is a bit more clear. I This is one color background and is also a lot easier to mosque out all the designs. Sure, so I think these are the main feature. I think if you're doing a magazine cover, use, an image that really is striking on probably has a really clear background. So it's easier to Moscow. The little model no on having behind had a front of the title. Yeah, why I like in this example the most is the fact that her arm is op or am natural, whether it's her arm. But definitely that jacket is going behind. The type by her face is in front of it, so it forms like an even more complex composition. So the title is wrapped around like she's almost like holding the title, so yeah, yeah, that that makes it work really well. But if you want Oh, understand Maura about magazine cover layout. There's this block, which is quite cool than they mainly talk about designing medical magazines on There are rules and terms you can try and so ever recommend, probably have no need for you. 21. Day 19 - Fan Art (ProCreate) #109/365: - The whole point that I wanted to make with this tutorial is that I do find art much less often that I would love to. It takes a lot of time to do these paintings, but I think it's a great they off improving your skills. And it was so gained audience for your work. Because if you just do a portrait off your mom, probably one bs as interesting. For most popular as popular, it can be a really nice piece of art if you do it well. But no one really will know that person, while if you do a fan on, even if it's just a celebrity in their suit on like an Oscar event, and you do that painting off that that's already going to be popular because people know that person's celebrity. But if you pick a character played by an actor or actress from a Siri's and you try to tell a story as well, with which not only just shows that person but also puts it in that story on this is like the taboo Siri's with don't hardly in it. That is even more interesting because fans off their actor would probably know the series, and then they will immediately connect to your peace. And they want to see how you captured the essence of the story. Yeah, no, I think that's really so anyone wants to do illustration. I would recommend to just simply pick anything that you're interested in either TV series or computer games or books or TV shows. Whatever. Really? Yes. So anything but to do with popular culture will be interesting for a lot of people. Definitely yes. Or like stranger things, I think is one of the was vi ng common like fan art topics that love people do. And I collected a few examples. It's not just off stranger things, but it was a couple of other things here but for stranger things. If I said like these four So I took me a minute to realize that it was yes. Oh, so you can see that there's so many different illustration styles can be used. Yeah, and then you can I can already tell that the bitchin one is actually used on a T shirt so you can be purpose. These hands create money for male. Yes, definitely. Yeah, eso it's know about just getting fans and exposure both. As you said, you can already turn it into something. That yourself? Yeah, really Come province Nice. So yeah, that stranger things. What? As I said, a computer games assessing Creed is huge and there's that there's an artist on deviant art . I can't remember the name, but I'm going to share it with the video at the end. Who does? Amazing like concept, concept, art, quality, fan art. So it could be something that, actually, the creators did to explore an idea. But it is actually just that inspired art based on the game. But you can tell like it's a professional artist, like the composition and the colors, that everything is just really nicely done. But on the other hand, he doesn't have to be so complex, like a simple registration like this can work as well and what's even cooler than having a fan art. One piece is to actually do the cross over, so this is actually two different things. It's a game on the left lost of us and the film of Over 80 and Logan because they have a very similar story line. Though the artist did like a little cross over there on day. So it's really smart. Yes, a really good idea. You can think off two things that can be combined together. That's weird. But fans would immediately know what you wanted to show. Yeah, I agree. Really cool. Edit. It's critical. And that this is when your creativity really likes all kicks in. When you end. Do these old things. Yes, yes, yes, definitely. 22. Day 20 - White Space (Theory) #110/365: - next one is a fight space. So can you tell us a bit about that? I mean, yeah, she was your tutorial. Yes, the reason that I was really keen to do tutorial on white spaces because it's something that when you're starting out as a designing you could be a little bit scared of leaving blank space in a composition. Yeah, I think we've all been a bit guilty of trying to fill up these the canvas you're given with things on with design elements, even if they're not necessarily relevant or they don't necessarily fit your design on gun. Also, Whitespace isn't isn't just about how much you have on your canvas is is a lot about the proportion between your elements, so you might have to use seven or eight design elements that might be part of your brief. But you still really need to consider at the the space between each element. And as long as there's a nice amount of room between the elements you're using, it will be easier for your viewer toe. Navigate through your design, and so it helps you point town three important pieces of your design. So if something's got quite a lot of white space around, it's probably gonna be a little bit more important 23. Day 21 - Using Brushes (Ps) #111/365: - way have two very important panels. We have the Brushes panel and the brush Settings panel, so these are the two panels that you need to work with whenever you work with brushes. And thanks to the most recent update for Creative Cloud 2018 now finally weaken group our brushes and the brushes panel actually will host and remember what tool a brush was saved it. So it will even be able to remember whether it's a mixer, brush or erasure or smart to brush eso. Those will be also saved with them. And there's a couple off like special brushes here that I can show, which is quickly that those already like a pattern and so on and so forth. Or we have this one here, which is like scatter brush leaves, and the brushes that you save that you create or download will all have their own unique settings. So the settings is the one that you find in brush settings panel. So we just have a normal brush like this. No signal additional settings here, but even if I just do something like increasing, this facing is going to order to create like an interesting uh, brush that you can do like patterns with. If I just go into and change the under shape dynamics the Anglo off this or actually the roundness we can go into brush this shape on just simply here, drag this down on turn it around, we can create again a completely different effect where we have a different pattern. So there's so many different things you can do. And then all these controls that you find here can changed of a again. It's going toe work, the brush itself. So if I going to shape dynamics and under angle, for example, I set the direction to work and you can see already that once again the brushwood actually understand the changes in rotation so it won't be always work. Tickle. It can follow that, and I'm still just using the mouse. I'm not even using a tablet or stylus 24. Day 22 - Symbol Tools (Ai) #112/365: - symbols for repeating elements. If you combine the symbols with the symbol tools that you will find here in the left side, I think it's on the that one. What is it? It's here. Symbol tools is in another group with that one. Well, I mean, with the stores you can pain basically video symbols on. I think the tutorial explained it quite well that you can do all kinds of things, so depending which to select, you can then start shifting them around. You can be size them, and it's just a great way if you need to use an element several times and create like a, uh, how would you call? Is it, um, with fish? There is a word for it when it is always school. School of fish. Yes, yeah, it's one of those good ones. So when you need to do a lot off something thistles Definitely a useful one. Yeah, I think what I really love, especially about the spree to, is that it creates an element of randomness really quickly. And if if I were to copy and paste that fish 20 times, I still on, I spent 20 minutes trying to make them look around. Um, it still wouldn't look random because we try and categories. There's a human's. Where is with this? You just one quick spray. You've got this, like, really organic looking composition. And on you go. Yeah. So the only thing I would recommend people to use when you work with these tools is to extract the tools as a palette. So if you click on the little everyone, then you can very easily switch between the tools. What I find is, like, I constantly would go back and forth between, like, shifting, moving. So you want that little palate there while you're working with this with this tool? Nice, cool. 25. Day 23 - Using Contrast (Theory) #113/365: - Theo Contrast is one of those really big topics in design, and it's something that we kind of brushed on in the tutorial like that there's it would take a lot longer to go into depth about the importance of contrast in every single element of design. But what was useful is that we we started to talk about how important it is used in typography and used in and like photographs and imagery as well. And the thing about contractors, it's pleasing for the island. If everything looks too similar in color or, you know, even in shape and that kind of being it doesn't add very much depth to the design and you don't you're not particularly drawn to its not very eye catching on, and your composition will end up without much meaning up. Personally, I think it s so it's really important to have that strong sense of contrast within anything really than photographs within your compositions. Within packaging on Web design is a very important area that, like unities, contrast for. So it's something that you should definitely look into more on greed into in design. If you're if you're interested in being a designer, Yeah, so contrast is obviously something that you can have by utilizing the difference between shapes or color or value. So there's a lot of things that you can have contrast ing against each other. Sizes. Well, something's more next. It's something big, so there's so many ways of using it. But even night, like a simple things as using a photograph. If we open it up in in 40 shop, let's just open this image up. For example, if I Sure let's say using levels this image with reduced contrast would be something like that, and it's always the much less interesting as having a better contrast. But the current contrast level can be increased by great grabbing the input levels a bit, and then we can see that now it's just things back the way they were so again, before and after. If I increase the contrast, it can be even more three d feel to it, and I'm much more like colorful as well at the same time. So it might be a little bit of an overkill, of course, in this case, but you can see that even though it was already a good photograph with a little bit of contrast. It can be even more. Stand out. Yeah, and I think this is a really good example again of like setting a mood within an image. And so contrast can be used, especially in photography, to set a mood. So when something feels a little bit more subdue a little bit more organic and natural, you probably do want to, like, tone it down a little bit for something like a Nate and natural composition. But if you want it to be big and bold and like, kind of like Mawr, like modern orm or like technical, or if it felt like it was rendered on a computer, then probably wanna get something a bit bright, your higher contrast, yes. 26. Day 24 - 3D Mock-Up (Dimension) #114/365: - did I mention is one off the applications Recent applications introduced to Creative Cloud and it's like probably the best tool to use to create your own three D more cups, where you can use objects and you can add your designs on those objects. So it's going to just load up the same file, and I used in the tutorial. The designs that I use were from free. Pixar leads to compositions on the about the orange and strawberry juice, but the cool thing is that these models were actually all three models are used living thing application, so you can find all kinds of things here, like coffee cops on. Then it's already comes in as a fully eligible three, the object that we can place in our composition. But the cool thing is that you can even, like, double click on elements within a design within an object. Or you can use the scene here and then find different elements like the splash, which I can move independently so they they come as a set, and then you can start moving things around. So, like that's the lead, which I can select individually, and then I can start moving around. So once again, a lot of different things here you can play around with. But one of the coolest things about using the dimension is that it has a very intuitive way off adding elements on your three D objects, it says, literally drag and drop. So if I just drag something onto this object here, you will ask me if I want to replace the current sticker on it. I see it. It's simply as easy as that while so come easier than that, really. And you can also resize it, rotated and so on, so forth. Nice, Alex. Yeah, so definitely give it a try. It's within the It'll be creative cloud that I mentioned. It's now a fully fledged application, definitely worth giving it a try. 27. Day 25 - Character Illustration (ProCreate) #115/365: - now this example. I just wanted to quickly talk about it because this is one of those things that is very important when you do, I have any type of illustration. But fan art in particular, I would say you have to pay attention to is a simple thing. Like what background color you will use. So if I just select these two layers here and I start changing the Hugh, you will see, like simply, just changing the background color will create a very different atmosphere. And then also like how saturated that background color will be or how bright it will be again creates a very different tone off for the image. So if I wanted to go for more like nature and plan theme, this could work really well because that's what the character is about. But what I actually had that originally was giving, um, or complementary color. Yeah, so it waas again, giving a bit of contrast and helping generally to separate the character from the background. But I think it looks really good and what's really well, I like contrast in color. It's really yeah, but similarly to that if I wanted to have maybe, I don't know. Probably like oranges could work as well. Or, I don't know, a red might not be the best color for this body's too dark. Yeah, but something more like a vibrant, bright color like this is what could work. It might be overpowering. The design itself does. So you have to be careful. 28. Day 26 - Text Wrap (Id) #116/365: - Textract is mainly using editorial and you'll see more seasonable in, like fashion. So Lifestyle Magazine on. Yeah, Aziz, we mentioned earlier on this was a drop cap slash text rap. I'm just going back to the previous one. I love the fact that they used the title on the drop cap. Yes. So the wash your face is like have a heading and it's actually on the text itself. That's such a cool way of using it. I like as well how they've used the S is the container, for it isn't just interacting is actually fully contains eso. Even you can see where the s ends. The type carries on as if it hasn't so it looks like a figure Vega. The type itself is really clever, really like it. I think what's cool about the like custom text rap is that you can create whatever you're working with. You can create your technique to go around that you have to be, so it doesn't feel uncomfortable. It feels really natural. Yes, So if you have a psd finally need design on that will already have the background caught out from it. So even if I just put something behind this like a frame on. We fill it in with a color will see that it's already has transparent background. So in these cases, whenever you use text, it will be a very simple step because all we have to do is once we have the text in place, it's going to make this a little bit bigger way. We just have to go into tax trap on the image, and that's important not on the text itself. We have the image selected, and then we choose the third option to wrap around the object shape. Um, and I think what we need to make sure is that we have select the Alpha Channel as well. Otherwise it won't work. Now if you have an image that doesn't have a selection already on it, you can still use think things like that detect adjust, which was still like even here you do a good job, but after channel in general, I think is the best one if you have already in extracted in Beijing for the show, 29. Day 27 - Isometric Drawing (Ai) #117/365: - so I have a few examples collected for this isometric design is basically a design or illustration style where there's no perspective. So there's no vanishing points and there's no vanishing lines. Every line that goes in the distance is parallel, so they won't have the perspective on them. And probably the easiest example to look at out of all of these would be just to look at maybe this one here so we can see that these two lines in a in a real situation would eventually leading to the same point. So that would be the vanishing point if we have perspective. But in an isometric composition or isometric drawing illustration, we don't have that. So they completely stay parallel to each other. And when you look at a cube, that would look like this. So this is the the technique that I explain in the tutorial. These are the values that you actually need to use, so you need to scale your objects on, then shear and rotate to create the three sides off the the object itself. And that's when he's going to look like perfect isometric illustration on. It is not that complicated, but you have to have a good eye for three D and depth and things like that. But why I recommend everyone normally in the beginning to do is to try to pick very simple objects like Look at this. How like call this one isn't It's just a very simple block, so it doesn't have to be a complicated three D shape, but still works like a really cool administration. Yeah, it's got a lot of character. Little personality. Yeah, yeah, so against that story, it has a good color combination. Obviously, whoever did it knows how light works as well. We have a nice, soft the cost shadow here in the background, so it's really nicely done, Uh, and then another fairly simple composition. But this is actually taking the concept of isometric design to more towards, like the blocky design or like a source of blocks like Minecraft is all made of blocks. And that's like a like a huge influence in popular culture as well, like there visual style off that game. But my favorite example is Spot, probably the game called Monument. Well, he and the it's It's an iPad game on the iPad and smartphones at those two parts of it already. It's actually a British company that let this one, and it's a very smart game about isometric illustrations and how you can see the same elements and feel like they are in different dimensions. So if you just turn around simple elements, they can feel like they have in different dimensions. So it's really hard to explain. You have to see the game, but it's just a beautiful game anyway, like every every screenshot from it is like a piece of art. I look at these colors is just so nice. But again, it's all based on those blocks and isometric design that we talked about. It's really cool. I really like this game in general, like his anti gorgeous. And it's ah, really interesting liken fresh take on like a classic puzzle. Kind of. It's like a problem solving kind of game that they've taken. It's a whole new level. I've seen quite a lot off people review it, especially from a design perspective, and you mentioned the other day that there's definitely scope for designers starting to rue few games because because they're starting to get so beautiful. Yeah, it's something that I will be doing in the future as well. I think it's It's definitely worth getting inspiration from games on films and TV series as well. There's so much you can learn in terms of design and composition, and it's just interesting, like this was the first concept after created for the game. So this is very started. Sick was the original idea off the creators. 30. Day 28 - Shape Builder Tool (Ai) #118/365: - The only thing I would like to point out is that if you have the latest version of Illustrator three shape builder now can work. Not only so. If I have a few shapes, your created Shea Bill there can now work not only along a straight line, but you can actually drove it. So that's well, it's It's just simply the way it works. So it used to be like working along a straight line. But they recently updated this, and now you can just draw freely with it as well. And that applies to cutting things out as well. Really useful. That's really useful, actually. Yeah. And don't forget, if you quickly want to combine things, you don't need to keep drawing with it. Instead, hold down the shift key, and then it creates a rectangular selection to combine. No, that's okay. 31. Day 29 - Using Lines (Theory) #119/365: - lines again, something that they're a graphic element within graphic design on, But they could be used in loads of different ways. Teoh help more firstly, to help create like compartments for your information, or separate your information within a design layout. So this is typically seen in editorial design or posters. Or, you know, like if you have multiple layers of information and you don't want them to get Teoh close to each other or you want them to look separate, just adding a visual divider like a line in is a really simple way already to separate that information before you've even applied any other design theory. But they could be taken a step further czar, which we start to explore a little bit in the video. You can use lines as leading lines to lead you, lead your viewer to Teoh piece of information. You probably see what I've heard of leading lines in terms of photography as well, because usually in photography, they find a leading line, which kind of leads you to the vanishing point of the image. But what a lot of people don't know is that you can use it in graphic design to point towards a very important piece of information, say price or time or day 32. Day 30 - Reflection on Water (Ps) #120/365: - just a very simple technique that I showed in photo shop about reflection on water, which was that example. I think I might have it here really just opened quickly. So this is a combination of different facts combined together. So we have here liquefy to make the reflection a bit hazy. Motion blur, and then we have levels as were applied only to have a more contrast. And then we have overall, I think, the Grady and Mosque to mosque them out and then a reduced capacity. So it's just simply using the same element that we had in the photograph and then replicated underneath to create that effect. But whenever you create reflections and you need to fake reflections in a way, you have to really pay attention how you do it, because there's one very important aspect that you need to make sure that you don't forget . And that is how reflection actually works. You have a volume off an object, and then it's not just simply reflected down like this, as you would flip the object around, but it's actually works like this where you imagine how that object would look from below. So imagine that you actually see the bottom off that object. So what we don't see off this block here in the reflection, we would see that because it's like a different camera and go off the same object from below. So that's a realistic reflection. This wouldn't work as an election. So when we look at real real life objects, we can see the same thing that we see the car from above. But the reflection actually shows the underneath parts. Yet the parts have become, actually see from this angle, so it reveals a different view off the the object. And that's why sometimes complex shapes can be difficult to do reflections for, like a simple glass like this to do that reflection and guess that I would find it very difficult, like angle as well. And how should that look like? So it's not as obvious as just sleeping in around or even or even like this, which you can see like. That is a depth here in this detail that we can't see again from this angle, but that the reflection itself reveals the death off the object. So there's a lot of things that you have to be able to imagine if you need to create the reflection yourself. Unlike on objects like this one, that is just a simple frontal view. Yep, off rectangular shape. It's very simple. It's just a simple flip upside down. And then Grady and Mosque Yes, yeah, not so when it's a flat object. It's easier, for example, for this one. It would already be a fairly complex job to make sure that the reflection is right is it's in perspective. And there's also cylindrical shape year yet, so I wouldn't know which way to do it that way or back. This is a very complex Yeah, so So you have to imagine that you're looking at this object from that angle, so just just quickly opening it up here. I already created a selection on this, but I'm just going to duplicate this object and turn it upside down just to show that if I have lived just doing that Sorry, select. If I were just doing get like this, it wouldn't work, because what you need, we'll just quickly create a new layer and could be directing elliptical selection here. Five. Pick a color. Something like that. On more this one a bit further down. So if you just ignore the rest of the design here below and you just concentrate on this part if I move this closer, see that already looks like have more realistic reflection. But of course, it's very hard to do that for the rest of the design individual. So I would, for example, the boxes easier because the books you just separate the front or peace. Yet you do the reflection and that just it and you do the side and the top you don't even have to care about, because that's the further so, yeah, this this is just something to do with reflection, which obviously is a complex topic. But I just wanted to mention that when it's from the front, it's fairly easier once you have in perspective, gets more complicated 33. Feedback on student work: when I work on branding. Obviously I work in Illustrator and I actually have on my screen a current project that I'm working. One I want be zooming on close on this one. Too much American is it's still a work in progress. But one of the first things that you notice when I have my documents up is that I'm using a lot of art boards in Illustrator. And that's a very for me to keep track off the evolution off projects. So I would keep a lot off stage is in the same document a za reference, and for me to be able to go back and forth this branding and packaging project I'm working on at the moment one off the clients that I'm working for is a, uh, amazing a couple from Colorado in states, and that they are creating handcrafted, superfoods based many or coconut. So Coco Prana is that name, so I will probably be able to share more about this project in the future because I think it's it's shaping up to be a really nice branding on the packaging design if I can. If I can say that for my own work, but I really enjoy working with them. They are such an amis in client, very good on communicating what they want and what changes they would prefer. So I am designing the after we established brand the identity. We are working on the all kinds of different packaging things like the labels for smacks on all the different products that they have. Eso this is normally how it looks when I work in Illustrator and you can see I have a lot of panels open because I like to find everything and have everything at hand, including the colors that you see on the right side. I have the art boards on the left side and what the properties panel, the layers. The appearance panel so illustrator is really the most professional to for local design. It has everything that you need. And, uh, there's definitely no not another tool that comes even close to how what you can achieve here and the especially like the speed that you can work. And because it works with vector graphics. It's not only for logo design but anything to do with print. So obviously packaging is also again, Illustrator is the past for that. So in design is better when it comes to like longer documents, multi page documents by Illustrator is great for like, single prints. So if it's a flyer or a business card, that's normally something I was doing in Illustrator. And then I got, as I said, Packaging, branding. It's all illustrator. The the new document window is something that I don't spend too much time on. But one thing that you could you can always set up in the beginning probably saves time, is the bleed. So even if you're not going to use bleed, I like to keep it in on. I'm just going to use millimeters. I'm just going to use three millimeter bleed, because that way already, your document will start with the red outline. So if you if you need to use bleed than it's already that you don't have to worry about, it is going to be visible on all the art board, so you will be able Teoh like it's universal between the document. You don't have to worry about it, but yeah, because illustrator is resolution independent. I don't really worry about the size of the beginning, especially for local design. So I just started any any size to be honest. And I keep changing my art board format as I work. So let's start with one of these designs. I think I would start with the Agricola former market is going to drag and drop this year. Or maybe just open it first. And then let's create the screenshot off this. It's going to be a little bit easier that way. Okay, so we have our screenshot on debts. Drop this here into illustrator. All right, so we have our screenshot here. As I said, we unfortunately don't have the vector files for this, but I will be taking out elements from it and a just trying to show you how I would be improve it. So that's the screenshot. I'm going to look this by pressing command to control two on peace in Afghanistan. Quickly off looking at hearing illustrator. And I am going Teoh, keep it. They're just increased. The size shift, though, is the shortcut to get to the art bore tool with which you can expand the space a bit. And I am going to open this image the screenshot up here into for the shop where I'm going to extract a couple of elements from this. So as I said, ideally, of course, it would be great to have the factor file, but because we don't have it, I'm just going to extract a couple of elements. So I am going to use three carat because I love that design element in such a cool element here. So I'm going to use the Pantanal sector path more, and I will make a quick selection here so we can extract this detail. So I'm just going to go around it like so Andi, command, return or command enter is going to turn this into a selection and we can press common J to have it on a separate layer like that. Now, if I copy the layer and paste into illustrate that, unfortunately doesn't work, so you have to have a selection command clicking on the layers from kneeling for the shop will make a selection. And then when I use common sea and common V, it should come in as a separate element now, so that's a little bit easier to work with already. So I'm just going to keep that here. But before I bring it in, I will make sure that we don't have this wide detail around it and that I can easily get rid off by using the magic one, so just simply deleted. So now if I make a selection again, you see, if I command click on the family, all its elects everything within the layer. Cohen, see common we. And now we have. This is a separate element. OK, so when you have a screenshot without any anything that you based on a pixel image, you will always see a resolution here in illustrator So you will see the PP I or resolution R P at the picks up, arrange size. And that means if I reduce the signs off this holding down the shift key, the resolution will increase. So now it's 130 just going to zoom in a little bit just to see whether that's going to show up in the in the stream. I'm not 100% sure whether the zoom is going to show up in the stream. Probably not actually have special not to zoom in the image to the screen. Yeah, so it's just distorts the screen. So I'm going to avoid that. So we have our carrot ready. Now let's go back to for the shop. I'm going. Teoh, turn back the original layer and then I am going to Crabb each of these letters because I don't have the front again. I am just going to rely on using these letters. So what I will do is make a selection around each of these letters. Press. Come on, Jay. Too quickly. Extract them on a separate layer. I'm going to make a selection off this other one here and I'm using the mouse. But it would be faster to do this with the tablet. So am I. Just get the tablet, to be honest, because it's sitting next to me here. OK, I think I just have a big screen with high resolution. That's why it feels a bit slower. But yet there you go. I'm using by the via they come into a stab lit. Um, so there's a stylist for it. I would only use this really for, like, selections and retouching. I don't really use it in Illustrator off course. If I did drawing them, I would use it. But for this selection with the lesson, so I find it probably the fastest, so I can just quickly extract each of these so you can see me selecting each of the letters individually and then common J putting them separately. And then once I have them, the A. I only need once because I can just use that. Once I have them, I would just delete all the vibrates from them. Now is a good thing already that if you are removing details with the magic one from from a layer in photo shop instead off clicking and then shift leaking. If you want to make sure all divide bits are removed from that layer, you just have to turn off the contiguous option from the control bar or options by on the top to turn that off and then you click. Then it will find every bit that is vital in the layer. So when I delete that you will see it creates a much better like selection based on that, and then I can do the same thing again with the magic wand. Click here on this other layer size, just like G layer. Click on that delete on, Then the other one, uh is C So click that delete Andi, the old it how? Click delete. All right, so now that we have all of this, I would just need Teoh bring this into illustrator. I would just do it one by one again. So it's just makes it easier to then work with all of them. So I'm making Miley or selections on just dropping these in here so that we have Ah, see paste. This is where shortcuts are handy. You can see I'm using shortcuts for almost everything. So even switching between applications, I'm using command tab. Come on. See? For paste and command, sir. Common See for copy and command V for paste as the G as well. So now we have all our all of our letters and then the rest of the design. I'm not going to bring in because I have other plans. And that's actually the bit that I think needs refinement. So I'm going to make this design slightly smaller, appear okay and then let's put these things together. So I am going to switch back to my mouse and then that's moving things around a bit. So first of all, I'm going to roughly put these together. The they we've see it above. I forgot to bring in the are. Okay, so let's just go back to for the shop. Stern on that original layer we need the are as well. Come on, Jay. The magic want contiguous off selection. Copy based. Okay, Since I didn't move them around, I didn't adjust their rotation. They should be in that rotation that we see above. I just have to duplicate my A and then rotated around with rotate tool. Are is the shortcut for rotate surprise England. Okay, so that's that's roughly the ladies above. Now, one of the first things that I wanted, Teoh point out, is that when you have a shorter text, I'm in a shorter, less letters in attacks and you spread it out across or around the circular shape. It can get difficult to read it because your letters are going to be really turning around . So from being completely sideways to getting street and then going again to the other way sideways. So when you are doing something like this, I would recommend to space out the letters a bit differently so I wouldn't stretch them and feel a whole 180 degrees off the circle. But instead I would use only like 120. So if there's no enough letters in this case, we have eight letters, I would probably just use around 90 degrees to 120 degrees, but not the full half circle, because that makes it difficult to read it. So what I'm going to do is to move these around and rotate them. But to make sure because I'm using now individual elements and not an actual taxed, I am going to use a circle or actually an ellipse could be also something that we can use in this case. But I went to use a circle and just set it up for myself as a guide. So I imagine something like that to work quite nicely. I was set. The stroke color to be read on may be increased a stroke size hearing the appearance panel a bit. Just what so we can see it better, and I send this to the back command shift. Left square bracket is the short got to send something to the back, and I will also look it so I'm not going to move it around accidentally. Come on to when you have a selection, you can look things. Okay. So even though we're not working with actual text, I can steal align them on the baseline around that baseline, and, uh, just a closer. And one of the things that I recommend for everyone to do is, instead of relying on these corner points and dragging like that, it's always faster to just press are and then click anywhere. So that's a faster way of rotating. And once I have the three letters next to each other, I can also use the arrow keys to start munching them around a bit. Okay. Again, I can just like you rotate the eighth that just to make sure it looks good, something like that. Perhaps I was too far. Okay. And when I have these three letters, I can select them all and using the rotator, I can, of course, move them along the curve further if I want to. Okay, so that is starting to look a little bit already. Better. I'm just going to use this carrot, which is the letter I in this case. And I am going to try to make it bigger, but no as big as before. I think before on the top version it was just a little bit too big. And also because of its strong curve, it looked a little bit less as an eye about more like a C or an L. So to make sure that reads as an I, I'm going to have it a little bit more straight something like that. And it just goes over or beyond the beyond the baseline, but not too far. So we can make it probably around this size, and it's still going to work as part of the text. Now the rest off the tax can be quickly placed here on again, using the rotate tool and then merging with the short cat. I am going to set this up quickly as well, Okay? And you any letters with around Ah, bottom port? The bottom of the I think it's going overshoot any letters with an overshoot, having that round shape at the bottom like the O. M. C and G should go slightly over the baseline. That's when it reads better. So when you're doing this, manual placement is good to be aware off that typographic rule or that custom, we should remember what we're doing, this type of things. So now that I have them ready, I can maybe select them and also that this ellipse, I'm just going to make it available to have selected, and I'm just going to make everything is little bit smaller. So we fit into our heart board something like that. And all I need to do is to move this text slightly around this circle now. So when you are using the rotate tool, you can click somewhere in the center and then start dragging it around that center point. So this can be very useful in this case as well. As you can see, I can really nicely align it along that circle and find the best center point for it. So I think that works quite nicely so we can believe the circle. And now and now we have this tax ready. I can just make it slightly smaller Now, I'm not saying that this is perfect. I'm not 100% sure about the current, like the letter spacing between each of these letters so that can be amended as well, and the angles as well can be improved. But my point? Waas to have the text on a much more via like arc or arch instead of having it on 180 degrees. So this already helps to make it read better. So it's more read a beatable or logical, which have a word in this case you want to use where would apply. And the the farmer market, which I think should be farmers market anyway. Just double check. It should be farmers market yet farmers market. So if I just time that the end for members market, I think that's the correct spelling. I am going to use something similar to the original design here, so I think I have, um, I think I have a good phone similar, like Gotham has the round versions Gotham rounded just quite similar, and I got them around the bold. We can choose a medium, the thing that would be quite similar, and I can use the eyedropper and pick that color that was used in the original design so that I don't have much problems with for now. But one of the first Inglis at that this moment, I would mention, is that the central design in the original one seems to be supposed to be a field, or to me, it seems like it's like fields and like a hill with crops on it, which is great. But unfortunately, the very looks is that I mean the V. It doesn't read well because the Vagos lines are the represent, more like upside down crops. So if we look at something like the Obama local, if if you guys remember it like that has three the crops on it. But that reads really well as crops by here because it's upside down. That's much harder to read, and I don't I don't necessarily think off crops at this point because the way it's laid out , so if we are just using the same thing but the other way around, it might work much better. But before I go ahead and do that, I would like to also mention that you want to reduce the amount of elements you have in your design. So you first will need to think whether that's an at at first of all, whether it's necessary to have those lines. That or Maybe if I just use the text, the second re texting this local, which is the farmer's market, and maybe use that as the central element, whether that's going to work or not, whether that's enough already or not. Now I might need to work on the typography to to feel that space better, so I might need to use a different front that feels it out nicely. But that could be already an option. So instead of having any lines of design and the man behind the text, we could just feel that up with the text itself. But there's to keep it similar to the original, and I don't want to go too far. I'm going to keep it here underneath, and I'm going to try to create that field or crops design. But I will do this from scratch, so I don't need to go back and make selections off it. So what I'm going to do is to use the shape of their toe because that was obviously the task here, so we can actually do that with the shape of their tool. So we need this circle. First of all, that will be one off the field designs something to set that there. And I will for now set it to something like this. So that's field in. And then if I would click and drag this, I can already start to create the shape that I need, which all I have to do is to select both of them together and then with the shape builder to delete holding on the old key details that we don't need. So you already have one off these lines? Sort off getting ready. Okay, so we can then use the eraser toe and holding down the old key. We can delete whatever we don't need from this. So something like that, I think, starts to look slightly better to what we had in the original one, so that one single line on its own wouldn't be enough to represent the field. But once we duplicate this and reduce its size a bit and try to adjust it to fit this design after having like two or three, it will start to look hopefully more like the field on the crops. But off course, I'm just trying to do this fast. If I was doing this more precisely these shapes would look much better, but just to make it this a little bit better. What I'm going to do is to select individual points with the direct selection tool and using the adult keys on the keyboard. I am just merging them around slightly, so they're just going to select that as well. We select this point year and just much them around a little bit that I will select a lot three together and maybe squeeze them in further, maybe rotate them slightly as well. And they're using the eraser tool holding down the old key. I can even out this edge here, so it's going to be completely straight now if I group these together, command G control G. That's going to be, um, a nice little shape there that feels in that empty space that we had, and it ties together the rest of the design. Now the color. Obviously this orange color is not ideal for the field, so if we pick the original green color from the design might make sense. But we can also pick a different color so we can always experiment with Don't know, maybe Brad. The red might be a little bit too strong. Um, so green is not bad. If we are using the same dream as a tax that might be a little bit too dark and too strong . So I might use one off these other colors that we have here in the design. So not the orange. But maybe this yellowish color is actually quite nice. The only thing is that I will increase the width of this a bit more. Just follow that Ah, shape off the text. And without messing up too much the text, I'm just going to slightly adjust these letters to follow now the illustration itself. So I am not restricting myself to keep it completely as a circle. I'm just going to do minor adjustments on the latter forms something like that, and that is getting better. But my concern is that it's still like the overall shape is not strong enough, like in the original one. To be honest, the overall shape was much better because it was something like this. Let me just take off the shape Anamika see, So the bounding box or the shape itself was looking something like this, and that's actually a quite nice shape, while my one in the moment is just not coming nicely together, the silhouette or the outline off this design so we can do a couple of things here. One of the things that sometimes works is to create a frame or like a holding device for the second recouping so that can be set as orange. And then the text itself can be white. So that's like an inverted text. This way I think we have. We will have a little bit too much off the orange, so the orange got much stronger. So maybe we have to compensate that by using green on the fields. But then, if I want, I can also have this rounded. So just to have a little bit more approachable, using the corner radius at some roundness on that on again, it just goes better than the text itself. But another thing that we can try is to use all capitals, so farmers market. Let's see how it looks with all capitals when you use a lot capitals. Obviously your holding device will be less high because they're usually in capitals. You will have more of either taxed, especially in this case because we have them in one line. So what you need to be really pay attention to is not to overpower the main primary tax, which is name off the brand Agricola. So you just want to make sure that is still going to read as the first and most important text. So that's the hierarchy typography, which Emily talked about in this month's video. I think, or maybe it's going to be next month. I can't remember now, but I feel like it's getting a little bit too big, so we might need to reduce it and then we can start aligning it. And to be honest, it might actually look better if we align it over it. Something like that. And if I want, I can get these lines a little bit route. Eat it to make sure that they still come out from behind that sign because I like I like when it's a bit more dynamic like this. So we see the beginning off those lines. Let's have a look at this further away, so it's starting to come together. I'm still not 100% sure whether we need this holding the wise here at the bottom and also about the phone choice. I'm 100% sure, but in general I feel like this needs to be a little bit smaller steel, so it doesn't overpower the design. And it might need to be closer as well like that. And to be honest, the carrot, if we want, can go a little bit further. And also, I would make sure it comes in front off the field just to have a little bit for Mawr interaction there. Now he is a very important lesson to learn when you are using. I mean, when you are designing anything, there's one thing that we called up engines, engines in design, and that's when details get too close to each other. So I can just see that here in this design, I unfortunately left a little bit of white in there. But I can just quickly fix that by click on opacity and choose multiply for the landlord. Actually, Akane, because then it's not going to show. Well, let me just bring that carrot back in here once more from photo show. So we had the carrot. I just go back on, have it selected. We had it on the separately year, but then I don't have it anymore. Doesn't matter. I'm just going to recreate. I mean, recreate that selection quickly. I just don't like it to be sloppy, since we've done a nice job on the rest of selections, just using the pentacle as before. And then I'm going to use the magic wand to extract it. One small will be much easier to have the vector shapes, of course, but we don't have that luxury at the moment. I'm just going to get rid of the white and then Cela copy paste into illustrator No copy based. So when I have the carrot and I'm looking for the best placement for it, one thing that I have in mind is again make sure it's the weed. It's, ah, little or readable as the I in the design, so I don't want it to be too on the sign and starting to look like more like an L. I want to make sure you treat us as I and I want to make sure that it overlaps this design here below it, because if I have it like that, it feels like a couple of things put next to each other. They don't really feel connected. If I have a little bit off overlap that starts to make it look more connected. Now, I just have to do further align mental the rest of the characters. So that's don't worry about that Finnell. But when I have the carrot set close to overlap but not overlapping enough and have something like that, I would consider a very serious mistake because it feels like now the character standing on the on the field, Andi is just not comfortable. So it's it's. I'm not sure whether the designer wanted it to be like that or factories like just an accident, that it ended up being their vile. If I have the carrot further of a, that's clearly how it was meant to be or when I have it like that. That's already looking more like a considerate decision that the designer wanted to have it overlapping. Now you might think that in this case when you might say that in this case it's actually looks quite fun to have the carrot standing on that curve, but and normally I would avoid most of the time I would avoid creating these tensions, where important design elements instead of overlapping, where have wedding each other, they just literally touch around the edges. So that's not good. Like it's the same thing with tax. You don't want to put your tax exactly on the edge. Sometimes it actually works. So there's always the, uh, exceptions. But you can do that. But most of the time I would avoid doing that. And then, if you are using simple curves like this, doesn't mean that you can't spend some time refining these curves. So I'm just going to use these handle points. And as you can see, I am going to do a little bit off refinement and smoothing off these curves because I want them to just form and nicer unified shape here, and this usually takes quite long. So to get this right, you have to go back and forth, and sometimes I recommend to switch to outline view. But you can see much better the lines and where you have less space between them and where you have more command. Why's the shortcut for outline, outline view? So I highly recommend to practice using this more and then I use. Sometimes the miles you sometimes the arrow keys on the keyboard to nudge these points around until I get a quite nice and unified look on these curves. So I'm going to just move that down a bit as well, then common white to switch back to the original view, and I just feel like this one is a little bit too vehk here at the bottom, too narrow. So it needs to be a little bit more than that. And also, I still feel the carrot needs to be come closer. Probably all of this on the top can come closer to the field, and the A's can wrap themselves around that label that I created at the bottom, which will, because it's a symmetrical design. I mean, the two A's on the science will help Teoh keep it symmetrical is going to work quite nicely if we use them as a frame for the actual cookie and the video within the design itself, I can just further refined these letters and move them around. I don't really need to see the baseline. I'm just using my I and judging these as I go along, so there's no point in really refining anything until you feel like you are getting it right. So that's that's like an important tip in general in design that just don't get tied down on tiny details at the very beginning, because you will probably be keep. Keep changing it quite a lot on you can see I'm Steel further, amending the curve itself and rotating it around just to get that nice wish the way I wanted it. And one thing similar to having attention in the design also can be a problematic element is the colors the overlapping colors. So in this case, the carrot and the field is a little bit too close in colors to each other. So here I don't have much contrast between the orange color on the carrot and the green off the on the cross or the field. So there's two things we can do here. Either changed the cover or, if we really like the color on. What we can do is to use a little bit off gap between the two, so I can create with the pen tool a little outline here for the carrot. Something's going to do this in three points just to simplify it. By the way, when you're drawing with the Pento, you can hold down the space bar and move around. You currently edited Anchor point and handles as well. So I'm using that a lot holding the space bar, aligning it there, something like that, and then click on that point again and come up here to finish it. So now if I use only a stroke on this and I said the stroke color to white, it was exactly what I meant. So I'm just going to make sure that the stroke a set close to the shape so we can see it. Batson's just going to zoom a little bit even closer, okay, now, because because the carrot is not a factor. It is a little bit tricky to get this really nicely, but you can see already what I mean. So that outline helps tremendously to isolate the two objects, and you can keep it. A subtle is that, but you can go further and slack that an increased stroke signs, and that way it might even defined that overlap better. So if you are not using, um, colors that isil eat two objects enough. You can always rely on this way off doing it. What you can see on my screen, and I I am going to probably call it they on this one because I could refine this further. But I think it z starting to come together. And as I said, I don't want to go too far from the original because then it ends up being a completely different design. So now, because I got the shapes closer to each other hamming or the elements or that the yet the other design elements are nicely cook come together, It forms a much better shape. So we find used this other one here, I can bring that down, and all I have to do is to just probably distort its to something like that on gun. I can also just show this quickly that the way I see this shape is by having um, having a cut around here and same cut on the other side. So I'm just going to reflect this whole thing ups just like that. Reflectively is all. The shortcut for the reflector is all the old click and drag onto the other side. And once I have this shape, I can select these three shapes and using the shape builder tool. I can just delete what I don't need by holding down the old key. So that's roughly the shape that I can see as, ah, as an outline or like the the shape itself that holds it together. The contour I normally call this for silhouette off the design, which is not like a common shape that you would use in logo design, is a little bit more complex shape, but it's not a bad one. I think it works quite well, even though this other shape is more natural, round like semi circle, sort of shaped like a circle that has the bottom we caught down or cut off. That's a more simple geometric shape. Um, the reason why I I didn't like it, as I mentioned before, was that the text is Mawr rotated to the sign and makes it difficult to read. And the field doesn't really read as a field because it's upside down. So once again comparing it to the Obama local, where the fields are going that way, here the fields are upside down. So if I just turned this upside down. If you just concentrate on the field, you will see what I mean. Just delete that outline. See, like that looks like fields. So because they are upside down and it didn't really work. So I'm just going to set it back and I will remove these outlines. So now if we compare the two, we can see that I kept or try to keep as much as possible of the original design. But make sure that it reads better on the carrot also doesn't dominate the design. So it wasn't too overpowering. Originally, Onda also the whole thing times to get the nicely. And as I said, the fields again just read slightly better. In my opinion, of course, it would be good to have to off those shapes in the design. So if I had a little bit more time, I would probably be able to do that by creating another one. So I just have one here and another one on that side. But because I don't have time for it, I just keep it as 11 hell instead of two heels. Uh, Andi, I think Yes. So this is how I would improve it in general. But as I said, there's a couple of additional things like phone choice. Maybe I would argue to me we have a little bit different phone there. Maybe it doesn't have to be or caps, either. So we can have. Maybe something like that looks order the a little bit better. I wasn't a big fan of that round text because we have the second re tax quite small. If it's not a strong enough text, it might get lost. So it's worth experimenting with different phones that might just look better. Like the American Typewriter Fund as well has that quiet, nice tradition will feel to it, So that can be a good solution or good option. But it's not an easy one to read, so that looks quite nice. From a distance from close up from a distance, it would be difficult to read it. So again, that's something just bear in mind whenever you're choosing phones. So I'm just going to quickly flick through a few off these here that I have on my computer . Um, and I normally like to use very simple ones, but this base one looks quite nice as well. You need to think off pairing these funds. So when you're using two different fonts in your logo, that's essentially pairing the funds. So you have to make sure that they are not too similar to each other because that then it just looks a mistake. Looks like a mistake. So you want to have contrast between them. But you also you still want to make them work together as a whole. So to create a good parent, um, so that is my redesign off the logo on improving the elements in it when I wanted to just, like, finalize on like the last summary off. The most important thing about logo design is that you try to get the local as simple as possible, so don't try to add a lot of elements in it for just no reason. Eso every little element in your design should have a meaning. If there's no meaning to it, there's there's no point in having it. So the Obama logo, since we brought it up, is one of the best locals in that sense that it has a lot of hidden meanings in local and only a few elements, so It's called proportional density as the term that we using in, especially in local design, which means there's a ratio between the elements used in a local and the meanings, their hidden meanings in that local and higher this ratio is the better. So the more meanings you can compress without using a lot of elements, the better your design can get. So if I just say proportional density proportion old then Citi logo for Obama logo, you will probably find something written about this year. This image explains it well, so you can see that there's actually 10 meanings compressed into this simple logo. And there's only three design elements, so we have the logo that I mean, the blue circle is one element, and then we have the red and white lines. So rather than my Blind Scott across the lower half of the circle, that's another element on, and that's pretty much it. So there's three elements the white lines, the red lines and the blue rink. But there's 10 meanings compressed in this, so the circle always represents like stability and like like things that are in harmony because it's probably like the most perfect shape you can get. There's no edges. There's no issues with symmetry. It's it. Any way you look at the circle, it's always going to be symmetrical. That's the only shape that can do that. Um, Circle represents and all for Obama, which is O. P. S. A circle represents also unity. Because it's all joined together again. There's no gap in it. The red and white line represents the landscape, the fields also they represents on the waves, off grains of crops and prosperity on the blue color represents sky, the circle, the negative space represents the sun rising. And that's just further emphasize with little Grady and there in the middle. So it really feels like it's a light source. It's not just empty space. That and then we have the red and white lines representing the American flag, obviously, the national colors, and that's also brings in the fact that it's a patriot. Take local, so 10 meanings with three elements, so that's an unbelievable amount off, but amazing proportional density in this case. But you can you can find other logos is where if you if you research a little bit on this, so check proportional density logo design, you will find more impounded, and that's what you need to keep in mind. So try to minimize the amount of elements you're using in your logos and increase the amount of meanings that you can have embedded in the design. It can be just simple, simply a color that you pick that will represent the meaning. A simple shape can be something more abstract as well. It's completely up to you, but the more meaning you can compress, the better. So that's all. And that's That's why I thought that this design is smart because it uses the crops and also some vegetables Azaz as parts of the design. So even though it's, I mean, they serve to purpose purposes. They serve as part of the text, but they also on their administrations and and that the fields again just create a nice underline now, especially with the new version of it. But it also feels in that empty space there, but it also can have the meaning off, obviously crops. And then also the green color itself is about things that healthy on DNA, natural, the or so on and so forth. So you could think about this further, 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.