365 Days Of Creativity - Month 5 | Martin Perhiniak | Skillshare

365 Days Of Creativity - Month 5

Martin Perhiniak, Design Your Career

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37 Lessons (3h 27m)
    • 1. Welcome

      2:45
    • 2. About the course

      3:21
    • 3. Day 1 - Colour Pop Effect (Ps) #121/365

      4:55
    • 4. Day 2 - Cast Shadow (Ai) #122/365

      5:55
    • 5. Day 3 - Lino Printing (Traditional Media) #123/365

      7:22
    • 6. Day 4 - App Prototype (Xd) #124/365

      5:02
    • 7. Day 5 - Mirroring (Ps) #125/365

      3:07
    • 8. Day 6 - Using Frames (Id) #126/365

      6:48
    • 9. Day 7 - Paint Streak Type (Ps) #127/365

      2:36
    • 10. Day 8 - Creating Spirals (Ai) #128/365

      5:35
    • 11. Day 9 - CC Libraries (Creative Cloud) #129/365

      5:28
    • 12. Day 10 - Sketching Hercules (ProCreate) #130/365

      6:00
    • 13. Day 11 - Golden Ratio (Theory) #131/365

      7:01
    • 14. Day 12 - Out of Bounds (Ps) #132/365

      2:40
    • 15. Day 12 EXTRA

      17:27
    • 16. Day 13 - Onna-bugeisha (ProCreate) #133/365

      5:23
    • 17. Day 14 - Celtic Knot (Ai) #134/365

      4:07
    • 18. Day 14 EXTRA

      23:26
    • 19. Day 15 - Glitch Effect (Ps) #135/365

      3:00
    • 20. Day 16 - Gestures (Adobe Comp) #136/365

      5:37
    • 21. Day 17 - Landscape Gradients (Ai) #137/365

      4:45
    • 22. Day 18 - Motion Blur (Ps) #138/365

      3:47
    • 23. Day 19 - Letterform Anatomy (Theory) #139/365

      3:13
    • 24. Day 20 - InDesign Snippets (Id) #140/365

      3:03
    • 25. Day 21 - Type Hierarchy (Theory) #141/365) #141/365

      5:37
    • 26. Day 22 - Shattered FX (Ps) #142/365

      3:29
    • 27. Day 23 - Intertwined Text (Ai) #143/365

      3:43
    • 28. Day 24 - History Panel (Ps) #144/365

      3:59
    • 29. Day 25 - CC Files (Creative Cloud) #145/365

      3:22
    • 30. Day 26 - Silhouette Lines (Ai) #146/365

      2:43
    • 31. Day 27 - Baseline Grid (Id) #147/365

      3:36
    • 32. Day 28 - See-through Text (Ps) #148/365

      3:40
    • 33. Day 29 - Eleven Portrait (ProCreate) #149/365

      1:56
    • 34. Day 30 - Circular Comp (Ps) #150/365

      4:35
    • 35. Day 30 EXTRA

      23:54
    • 36. Day 31 - Mixer Brush (Ps) #151/365

      3:22
    • 37. Conclusion

      0:42

About This Class

Welcome to Your Biggest Creative challenge!

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

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

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

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

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

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

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

Transcripts

1. Welcome: are you looking for a course that is guaranteed to help you develop your graphic design and illustration skills using Adobe Photo Shop illustrator in design and creative Absa like procreate, a course that gives you creative projects and assignments to work on every single day for an entire year and helps you to build a killer portfolio? Well, look no further. This is the one for you. I am Martin per maniac, certified adobe expert and instructor. Besides working as a professional graphic designer and illustrator for over a decade, I have filled thousands of people in classrooms, webinars, online tutorials, courses, life streams and conferences like that will be Max. Thanks for being truly passionate about both using and teaching design applications. I am proud to say that I was officially voted as one off the top 10 Adobe instructors. Having worked as a designer for clients like Disney, Mattel, Cartoon Network, Nickelodeon and BBC, I have ensured this course will help you start using for the Shope illustrator and in design like a creative professional. This course is perfect for you if you are just starting out or if yourself the wood and aiming to get confident working on graphic design and illustration projects. This is the largest online course on the platform, with over 700 video lessons and creative exercises that will motivate you to study and work on exciting and entertaining projects every day for an entire year. Studying from this course will also help you to accumulate hundreds of designs and illustrations you will be proud to include in your portfolio. If a full year off studying sounds taunting and you prefer to speed up your landing progress, you can easily cover more than one project a day and even skip a few. That doesn't fit your side. This way you can potentially finish discourse within a couple of weeks. It's a unique learning experience that you can adapt to your learning style and lifestyle so you can shape your own path, the words becoming a creative professional. Throughout this course, she will learn from me and two other designers, which ensures you will learn a variety of design administration. Stine's. We have carefully selected each example to make sure you get clear explanations without wasting time, even while we explore complex techniques. Take the next step in your career and roll on this score snail and make today the first day of your 365 days off creativity 2. About the course: through this video, I'm going to walk you through a bit more in detail. How this course is structured each day will have a project. Now, these with yours were very in content. Some off them will be actual technical exercises that you will be able to follow while others might be more theory based. What's common in all of these videos is that they will all start with a one minute introduction. This is just to get you in the mood and to understand what that topic is about. And then the video will move on to the second part where we will be going through the whole process. So it becomes more like a commentary. So you will see us talking through the techniques. What? The theory that we are covering that day, once you watch the video, was you will also be able to download the exercise files. Not all of the videos will have files, only those ones where we are going through creative projects. We recommend that you watch the full video, including the introduction and the commentary, and then download the file. You can follow along and use the same exact file. So you can practice what you've seen in the video if you have time, and if you feel like you want to practice even more, be advised that you also trying out the techniques with your own file. So whether it's an illustration or a photo you took, you can practice the same things that you've learned on those for discourse. It is recommended to have at least a basic understanding off one of the adobe applications . Don't forget to do the creative project at the end of the course. So once you've seen everything, you will find a brief that you can follow along. And based on this, you can work on a more complex project and the final result you can upload, and we will be able to give you a feedback on that so you can improve The very you are working. We have actually 11 other parts off the series so you can find them here on skier share and you can follow the same structure, work through the videos, which you can do daily or even faster if you want. And of course, each of these courses will have a creative project at the end where you can really practice everything that you've learned. This course is based on a YouTube series that we were running for a whole entire year, and we use that Siri's to get feedback from the viewers and see what they think and how each of these projects can be improved. So this course is based on that Siri's. But it's an improved and refined version off that, and obviously we cover a lot more. So while there we were only going through one minute videos. Here you have for each day, the longer extended videos and tutorials, plus including all the exercise files for some off the bays each month we even have extended version videos. So for those more complex techniques, we decided to go into even more death. So I hope this course will be inspiring and you will learn a lot from it. Make sure you go through all the creative projects and assignments to really take the most out of this course. 3. Day 1 - Colour Pop Effect (Ps) #121/365: - it was about the quick color pope effect, and this is important shop now. This is a technique that you can do in many different ways, but the way I prefer to do it is by using the adjustment layer court hue saturation when you use usage hue, saturation and there's act actually a couple of other adjustment Lee years as well, where you will find this icon, which I call own image editor. I don't actually know whether it has a name. It came from Light Room, first introduced it in light room. I think that they call the targeted adjustment tool. But essentially, what this does is that instead of changing the values here, selecting color channels and making the changes in under the that in the values you just like that little hand icon and then by the fourth this tool will change the saturation off the selected colors that you click on. So, for example, if I click on here, I don't know why it should change the greens in the image just for some reason, keeps changing the blue. Yeah, something like that. Maybe he's There you go. So if you click on the right color is going to reduce the saturation off the with scholars and keep whatever other colors you have in the image. Now, if I do the same with the reds again, I can quickly remove them, and then only the blue colors will stay the same thing we can do. If I direct to the right side, we can further exaggerate the color that we click on. And again, we can very quickly get the greens back on and keep the blue off and so on and so forth. Another thing we can do is that say we want to slightly adjust the hue off a selective color. All you have to do is to hold down the command or control key, and that way you can know only adjust the saturation, but also the hue. So, yeah, it's a very simple, quick technique, and again, all you have to do is either from the bottom of the layer spinal, you at the hue saturation just meant layer and then or used a property. Spinal Sorry, the adjustments panel and then just used that, like on that once again, we can very quickly highlight the train in this image and we can remove pretty much all the saturation. That's really cool. Actually, you can apply on illustration as well, right? If you bring in a factor. Smart. I mean in an illustrator artwork as a vector. Smart object, then, yes, it will work. Adjustment Lee years work on like they're smart objects as well. And one last thing that I showed in the tutorial was bad. If you ever find it difficult to remove certain colors here, I could very quickly remove all the greens from the image. But let's say a little bit more like that. But these still exist here in the background. Now I can change my sample size. This is quite useful for this own image editor tool to a higher area. So, like a bigger area instead of just one pixel, it can be maybe five by five, meaning 25 picks or sampling. And then it will find those colors much easier if it's still can't removing either increase that or create another adjustment layer. I would normally create a black and white adjustment layer and then press command I or control I to invert the mosque and then all you have to do is to use the brush tool and drawing over these parts with white. So that way we can completely filter out any remaining colors. But again, we don't have to worry about making selections because that was already created for the tree. So that's just that quick combination off techniques that's really good. 4. Day 2 - Cast Shadow (Ai) #122/365: - this tutorial was about creating cost shadows in Illustrator On that, that was the example that I used. And it was a simple technique of using the blend toe and connecting two different shapes. One which is a solely the block here at the bottom and another one which is reduced with which has a reduced capacity to 0%. So that's a completely invisible shape. And the way it's going to be connected by the blend tool if you are using smooth colors, is that is going to create this nice transition. If I open this file in Illustrator, we can see that all right with only tutorials. So we can't see that. Um, here it generates a preview which might not be the past. Sometimes depending on the GPU option, like I have the GPU on. If I were to take that off, maybe it generates a better preview, so it's not 100 send. But don't worry, because that will show fine once you export this file or when you send it to print is just simply here It looks a little bit like I don't know how bending How well would you call that started? Yeah, yeah, so you can see the steps in it. But if I have that shape selected, which is a blend group, and then I double click on the blend tool. That's where I can see the settings for it now. It should be set to smooth color, I think, or yeah, we can have the specified steps on, maybe just reduce it all the way down. But this is where I would normally go for smooth cover, but in this case, I just used a very short distance, and it's basically does the same thing. But if I double click on the shape and I start moving one side, you can see how it's going to change the effects that we can move it to the other side and decide exactly the direction off the life. It's really useful that you can after you've already made the shadow itself. You can edit the direction that you want it to cost. Yes, yes. So it's a very quick and easy technique. Studying how shadows work in general and how light works in general is very important, and this is a huge topic which probably I will be covering mawr in more detail in the series later on. But because we're talking about shadows, I just wanted to show a few examples. So, apart from having a caution on an object, if you are doing realistic drawings, for example or illustrations, you have to also think about all of these other things. So even just a simple spear, like has fear. This week, yes, would have lots of different values on it. So, for example, of the drop Shantel, we know that the closest of the object itself, we would have darkest details that is actually called or collusion shadow and the in gaming . Or like in game design and three D design. That is, that is the occlusion. Shadows are very important, um, to make things look realistic. And if you are drawing, just keep in mind that there's always light being trapped close to show details like that where the sphere is like covering up the table. So it's one thing to have the car shadow, but you have to also wasting about these things where light can get trapped. Even in a very bright room. You would have light trapped in certain details, for example, on my nose and things like that because you can get complex understanding. I still like finally really difficult. Yeah, it does take a while, but it's really important because even with like, the simple example that you demonstrated on yeah adds so much like death to the illustration already makes it look so much more professionals. It is really worth while getting to grips with this, like the theory of it, Yes. And so, apart from all the different terms, the other important thing is obviously what type of light you are using. So the shadow at the direction of the shadow is one thing. But how? What type of shadow it is Depends on what light you are. Using scene photography. You can see clearly the difference with me in a hard light and the soft night. So when you use like a soft books, you will get much softer lights like on the right side and the same thing going on people again. We can see the difference between hard light, so flight. And there's also another example here again, the hard light source on the left side. And then the much softer light on the right, so highlight is great for showing contrast. Soft light is better to have a more like pleasing image, yet it's not as hard shuttle, more subtle. 5. Day 3 - Lino Printing (Traditional Media) #123/365: - so part that you want to Hi. You called a lot that you want to show when you're printing is the one that you can you keep in the UK Nicer if it is the same the original. So these are just some of the examples that I found on assures how lineup cuttin is back when train These becoming a question It's a great way to create assets for your work whether you want to do a bit more traditional and printed directly on canvases on fabric. Or you can actually take this assets on digitalize it on the user for station movie packaging and so much more. So I really like is a fun little experiment I've done on Duh. I didn't know if you want to show how Yeah, Yeah. So, uh, this is one off the prince that you just took a picture off on. So when you have scanned images and you want to use them in your designs, the first thing that I would normally do is, of course, part from cropping, which you've already done here. But maybe we can just just a quick one eye demons can I actually just took a picture with my phone, so you don't necessarily have to have this kind of just quite good with taken for it. Would you come Burfeind? It's a good way to do. Yeah, definitely. Adobe actually has an application for the smart phone call that will be scan. So if you don't have a scanner, that's that is the one called Adobe Scan here on the right. So this one is grateful documents. But I tried it also with images, and it actually no only scans but also corrects the perspective distortion and adds contrast by the fourth so it can save your time. You don't even have to go into for the shop doing it, and they can put together this scans that you do into a pdf as well, if you want to just show it for someone. But if it's a document that you are scanning, it will actually have the text recognized. So it has also are already in it the Katherine consumption, and then it's electable and you can cope with the fax from scan documents. So, yeah, it's like a little scanner within your form, but you're going back. Teoh Theo example that you have here. Yes. So this is just a capture Real a smartphone as long as you have good light conditions. So try to get some more light. When you take the picture, don't relying on the flash on the camera and instead have good natural light. And you, uh And then once you have something like this, the first thing that I would do is to use levels. So going to levels adjustment layer dragged the highlight clipping all the way to the edge of the history. Graham. Well, use where you see the very drops on, then the blacks can be increased as well. In this case, I don't think it's should be increased to high something like that. And then I would normally use another adjustment. Layer the curves to generally bright and the whole design something like that. So already with these two adjustment Lee years, we already have a stronger example there. But if you want another technique, is that I mean, if this is still not enough, another technique I would do is to turn my original image into a smart object. And then my favorite filter is definitely the camera rule filter. So when we so, like that one. With this again, we can further increase the contrast. And at those so things like clarity on increased vibrance if we want to really improve the colors. So with that, it looks like this without it, it looks like that so you can have their like, exaggerated details on the water color. If you have not at sexual, is it is it watercolor paints. What type of planes that critics. Yeah, if if you're using now on paper, I best to use print quality ink acrylics. But if you want to die quickly doing fabric, then make best to use the fabric paint. All right, So, yeah, Once you have something like that, you can take this easy into illustrator and music. There was an image. What? You can further refine it for the show. You can even turn this into a brushing for the shop that you must. So if we just turned the whole thing into a grayscale image by adding a black and live adjustment layer here Oh, actually, I think even if we just selected like this and say edit, create brush, where is it defined brush base? That I think it has to be the layer underneath, so select and it defined brush preset. There you go. It could be a brush already, but the only thing you have to make sure I think it's still better to have it in black and white. So if I go into black and white and then probably merge the whole thing down, then I would I would still increase the levels. In this case. If I want to use it as a brush on, then make sure that there's no why details of the bottom you can even use through the majors switch to you, is it? I just want to use the Dodge tool, elevate and then just brighten up these bottom details, so make sure it doesn't end up in the brush. So now if I make a selection of the whole campus and go to define brush preset, there's the brush. You can call it leaf on, then creating a new document. It's just private out. Go on the the brush tool. It's just a massive brush. You may get smaller so you can see still showing a little bit, because that that that's why it's so important to make sure you clean it up nicely. Just the same problem with appear also in Illustrator. If you don't do this technique properly. 6. Day 4 - App Prototype (Xd) #124/365: - Adobe X'd a brilliant application for creating APP prototypes. And in the example, I used this prototype. But what I wanted to show in this session is that if you have your smartphone connected to the computer while you are using X D, the best thing about it is that let me just make sure that this stays here while I'm moving back and forth. So I'm going to keep that photo. So again you can see all of these Are it'll be APS that we have here and there's the ever be exactly app. So if I open that one up, you see already because it's connected to my computer already has this project open. And the cool thing is, I can test this trait of a so I can go into the menu, scroll up and down. Now we are in this screen, the option screen, and this screen has bottoms on it. So when I go into prototype, we can see the navigation that I created that. So if I click on hiking, we go to that page and I can go back. You can go to cycling and so on and so forth. And for example, When I'm on this page, I feel like this color might be a little bit too much. So I could go back into the design more having that color selected and here on the right side. So just double click on that color here on the right side, I can start making changes to it, so maybe make it a little bit darker and see already shows on the phone as well. So I'm just going to hold this up as well so you can see it that you can see straight of India's. I'm changing it on. The computer is going to change here on the phone, and it just gives me that perfect feedback off telling whether it's good or not. Same thing with like size on the tax. If I feel like it's too big, I feel like when I'm tapping on these, they can be smaller because I'm actually can tap on the icon as well. That doesn't have to be at that big tax. So if I reduce it inside that said 25 it's going to automatically update on the phone as well. That's really good, especially for fuel working with the client and they want to see that quick example. Yeah, exactly. And you get feedback really quickly, and it's also looks really professional from their point of view. If you're able to do this exactly, and the the other thing that we can do is from not just hide this again from X d. We can actually export this work and publish it is a prototype, which means that those like the client or even your colleagues can see how it's works in a browser on they can open it up on their phone, and it will feel almost exactly the same as what I was doing here. But it won't be running in the APP it will be running in a browser. So yeah is a brilliant application. And I just wanted to also mention that there is one main thing missing from XY. Apart from the simple and smooth transitions that you can do between the screens, you can actually add animations, so there's no things like a bottom moving in, or let's say, the cycle coming in from the left when you reach a screen. But there is a really cool application that is integrated with that will be X'd, and it is called Proto Pie. Now, I haven't had the time to do editorial on this yet, but expect something coming, or maybe even a such a smaller Siris on this in the future on our YouTube channel. But just check it out. I think they have a free trial as well. Essentially, what this does is that it connects to Adobe Extreme takes the project that you designed there, and then you can add additional animations and more complex interactions to your prototypes . So highly recommend the chain that one out. 7. Day 5 - Mirroring (Ps) #125/365: - So this is the original one. So we in the background, we can see our corrected version one. I've I've actually done in photo shoot one that had to get it to put the shopping corrected there. But we can see that when I was drawing this, A forgot to do this reflection, the mirroring off the the object. But if you are using thing on an app like procreate, you can actually do the same thing here as long as you have your, um, um I mean, as as long as you want to see the full thing reflected not just a layer or you have to do is to go to the canvas options in the settings. And there is the flip canvas horizontally so you can continue drawing in this mood. And then when you when you fixed what you needed, you can flip it again back, and you can keep flipping it around. You can even flip it vertically if you want it quite like the animation. It's quite cool. Yeah, I let they use um but yes. Oh, for me, it wasn't over. Yes, that it was so like leaning to one side. And you can see this angle. Just create this on a separate layer. So it's really like the whole composition leans to the left Lakers off that proportion issue that. But yet so this is something that you can do in procreate and obviously in for the shop as well. It's very simple to do the reflection. If you want. You can also set this up as a short cut in procreate. I The shortcuts that you can do is by tapping on the little circle on the left side between the signs and opacity of your brush, and then these things you can customize. You can see I have the flip horizontally said. There is a shortcut. It goes to show as well that if you, you know, you could This could be considered a mistake, but it doesn't mean you have to start again. You do have to look at it and say, Oh my God, you know, I have toe do hours of work again. You can actually use software to kind of correct those mistakes that you accidentally made it and so save your artworks. It looks amazing. 8. Day 6 - Using Frames (Id) #126/365: - I really enjoy working with images and in design because you can quickly like crop. Andi, thank you. You can quickly crop images you're using without actually losing any of the detail. So using you have your plane image frame, which is the blue outline. Within that you can use a direct selection tool, which I think, because a on then it turns orange and you can actually drag your resize your image within your main image. Bring eso what this allows you to do. That you can see here with my examples is that these images were all probably much part of a much larger image, which the designer has decided to crop into. And using image rooms in in design makes it really quick and easy. You don't have to open up votes short corporate, save it, put it back in. You can actually just drag like dragon Drop Andrea Lee have fun like cropping into different parts of the image. And what's great is that if you want you changed it. You can easily go back later. Eso if you're layout, changes some reason or your client doesn't quite like crop. It's a really quick and easy fix. So, yeah, I think I made this tutorial because I I really enjoy working with image painted inside it . If you guys feel the same. No, no, it's It's every Lianwei I mean, masking in general is always complex to explain to people when I teach these applications in costumes. But everyone always loves to learn about image friends because it's so intuitive. So if we want to move the image and want to show the train, for example, there's two ways of doing it. As you said, you can either select actually three bays, at least doing it. You can select the direct selection toe with the A short cut on the keyboard and then simply move the image around. That's one way the other way to double click. So, using the selection toe, you would normally select the frame. But then, if you double click, you can switch between the two more. So now I'm working with Theo image within the frame, and then if I double click again, I switch back to the frame, and the other last way of doing it is using the content grabber tool, which appears in the center of the frame we have to do is to hover over the area and then you can click and drag to temporarily excess the image within the frame. Yeah, so this is, by the way, is something that some people actually find distracting the circle. So if you don't use it, you can turn it off from the view extras. And there is the content grabber tool. So you can hide this if you don't need it. Why really lining in this tutorial that you showed Waas the info panel as well. So of course yeah, yeah. I really like the way you showed that. Depending on the size off image you have in your frame, you might actually reduce the resolution without noticing it. So what you need to keep an eye out for is always the effective resolution. The effective BP I not the actual one. The actual one is just simply what saved in the image when it's saving for the show. But that doesn't actually matter, because what matters in in design is the effective beauty. I So, for example, in this case, I can see drop quite low. Yeah, quite bad. So I would have to again either double click or or do one off these techniques and holding down the shift key, I need to reduce the size off the image until it reaches around 2 40 I would say yet or anything above that. So I I see like this is actually toe long resolution steel. Yeah, which means that this was a printed project. When you get that job back, that's gonna be pixelated on. That will be why. So it's important to check those, especially before you send it to print exactly and then in design. If you want to have thes coming up as warnings whenever you drop under a certain resolution , you can use the preflight option, which is here at the bottom. It says no wearers. The default profile wouldn't warn you about resolution issues, but what you need to do is to go into the drop down and choose preflight, actually, de fined profiles or pre fight options. Yeah, the find profiles is what we need within which you can either up the basic one or create a new one, a customer for yourself. But all you have to do is to go into images and objects and under image resolution. You actually, you need to create a custom one for this. I'm just going to call it cost, um, and just simply turn on image resolution. And this is where you can customize the minimum resolution. Anything below that in design will warn you, as long as this option is only like that optional. You know, unfortunately, not but in in design because you work with so many linked images, this is important. So if I turn this on, um, because we have an image already here as soon as we select our custom profile, so activating it immediately show respect. We had one error, and if I want to see it, it will even tell me where it is. And if I'm not on that page. So let's say we are on a different page. I can just click on that little icon there and takes me straight through the image that needs to be fixed. Really useful if you use in design a law, especially if you use it for print for drinks. Yeah, definitely. 9. Day 7 - Paint Streak Type (Ps) #127/365: - if you want to apply paint effect on your type but don't necessarily have the time to do it, this is a cool way or downloading pain Streak assets and then using the warp tool in Illustrator Oh, I'm sorry. Important shop. I used torture in this example. And then using the Walk tour, you can align the pain streak following the shape off the letter. Nice. It's a fake way is a cheap It's kind of It's cheap, really. But if you really want to create organic handler Tareen texture best to use the paint itself. But I know most people don't always have. Yeah, yeah, like like this. These ones here on the left, they seem like they were actually paying guests on. Then I don't think it's digital. It looks more employees pork operate. Oh, yeah, something like that. But yes. So what you are saying is that whoever doesn't have the skill to do him lettering or painting girl doing calligraphy, this is a good way of getting around it, but still create something unique. Yes. So, yeah, I really like the technique. And even for those who can do this manually, it might be useful to, like, improved their their painting. So maybe they did a painting or calligraphy hand lettering something. And then they just want to improve it. They can use that technique to refine its shape warble puppet tool. Anything that lets you easy make changes to your assets. Yeah. Go. That was really good. I like a technique. 10. Day 8 - Creating Spirals (Ai) #128/365: - Theo . The spiral tool in illustrator can be a useful one for creating these type of illustrations . So I sometimes you people asking me that how much off the tools are used in Illustrator because there's loads. I think Illustrator has the most amount of tools. I don't know exactly how many, but it's around like 90 Tours. Actually, we can see it because Schumi did this screen shots for us for the Siri's. So if we go into our templates and we have the tools, we can see it. That's a good, good way of telling how much we have here. So if we show the status bar, there's 90 tools in Illustrator in Design 36 on Lee and for the Shop 67. So that more voted shop. I would four. Yeah, but illustrator has the most amount of tools. Did you know that? You know which out of these three applications are the oldest? So which one has the longest history you say for the shop illustrator? Yes. Illustrate, I think is more than 30. I think it's 31 years this year. So it had its 30th anniversary last year. It was It was created in 1987. Wow, yes, that's a good memory. And the fourth, the shop is around 26 years old and then in design is around. It's not even 20. Wow, that's really interesting. Yeah, So maybe it's due to the fact how long they have been around. And that's why straight as so many tools, you know, all of them, I But you know, all of them are useful. But so when people ask me about like, do I use all of these tools, I would say no all the time. I don't use all of them all the time. But even tools that I don't use often like the swirl tool, can be useful. So in this world toe spiral toe, because you can do things like these. Now you can use this tool to create us swells that has a constant width. But if you combine it with the Witzel, you can also add death or like very varying depth on the strong's with on them. So just quickly showing this again. This is something I showed already in the tutorial. But if I just create an on board here on, I used this tour so the tool you will find under the line toe. There's thesis spiral toe there, and there's to shortcut that you can use the old key to increase the length off the spiral and the command key to change this attribute, which I always forget, how they call it if I double click on the actual, just click with the spiral so you can see it. So I think that's called decay and Segments is how long it is so old or option, and command control is a two way off. Doing it on you can change the style here as well, like in which direction this world is going. So once you have something like that, I just press deed. So it has the might feel black stroke. And then if I used the victor, which is shift W, I can click and drag and then start introducing the bits on it. And the cool thing about using the width rule is that if you want, you can always override the with that you added, so that can be changed and you can even change where this with should be. So if I move this to the end off the swell. That will look different where I can decide to move it on the other. And then again, it will look very different. Very customized. Really cool tool, actually, because if you want to do that manually, would be so Yeah, exactly. And the, um, the same technique can be used for more at once. Like complex illustrations like this, where instead of just doing something like an abstract decorative element, you actually turn it into an illustration like a tree. We'll even things like this. But you have the swells used as the waves. Always that this one is an ink drawing is your beautiful drawing. But if you want to create something like that, I can imagine using this tool will have to create those wells, definitely. 11. Day 9 - CC Libraries (Creative Cloud) #129/365: - Sisi libraries we can find in all of the adobe applications. So you go into the window menu and then you will find libraries in photo shop and illustrator in design. It's called CC Libraries, so it's my difference in naming and we can see. I think this was the one that we used for the tutorial. We can see that this library is a shared library. So there's a little icon there with the two people, meaning that I share this library, and the way you do that, they simply by going to the drop down and choose collaborate. So the libraries is I use for assets that you want to use throughout your projects or throughout different that'll be applications. But once you start collaborating, you can also work together and put all the different things that you, both of us create and then use each other's assets. So this is what we did. Me and Emily. We did a little collaboration example for this tutorial. Remember how much we struggled? Recording? Are the it take ages? Is it working? Is it working? In the end, it was just because I had to sign in and out of my club, but we really couldn't figure out for a good 15 minutes. Yeah, so it works really well, once it's set up, I mean the feature, it's up works really smoothly. It was just difficult to record it. So having the feature working the line while were recording was tricky. Andi, I've done it a couple of times on, like online training as well. Where you help me out again live when I was like presenting to a lot of people. Andi is always a tricky one to demonstrate, but that were actually went really well. That was really smooth, which was the better one, because this one we could sit and talk about a little bit more than I would have been tense . Yes, definitely. So this this is something that I highly recommend to try out. First of all, start using libraries for sure, but also try the collaboration out. And if you don't have anyone to collaborate with, I recommend to check out be hands where you can easily message anyone that you find other artists on. Maybe you find someone there that you can ask. Why would you like to do a collaboration or piece and then the best way to start is to set up a C C library and then on be hence, when you do the final presentation off the project that you've done with someone, you can again show the collaboration. So be hands again. Part of Adobe is built in a way that we can see that. So if I go to my portfolio, we can see, for example, this one here I've done it already shows that it has multiple owners. It's me and ammo. This is the project that we've done for our character, our course, um, the online course that we have on our side. And yes, So if I go in this project, we can see that it's deep to creators that did it. And the cool thing is that if I said this project up and assign all mom or anyone to the project it, the project will automatically show up on her portfolio as well. And any changes that I do was synchronized between both of our portfolio's Nisus save so much time that you both separately uploading them and then then looking a bit different. Andi just doesn't feel quite right, But this is really great. Feature that be Hance has. Yeah, definitely. So it's a The creative crown is really all about creativity. And since the introduction off CC libraries and a couple of additional features, the collaboration aspect of being creative is now available as well. It doesn't matter where you are. You can connect to anyone around the world. With this feature, you can use it with your own team that we use for brands. Yeah, so if you're feel like remotely or if you even if your team you don't want to talk to someone, you can just have, you know, having a great looking for specific files, sometimes easy to correct collections and use a CC library. Exactly. So we have, like the Yes, I'm a designer library where we have the most commonly needed icons that we work with. So yeah, that's there so many different things that you can use them in the libraries for 12. Day 10 - Sketching Hercules (ProCreate) #130/365: - I love to do these these type off studies when whenever I go to a museum, I always have my iPad with me and what I would do normally is that I do a quick sketch and if I have time and if I have a comfortable place to sit, I would probably keep on drawing it on the spot. But if I don't have time and maybe there's loads of other things that I would like to take as about do studies from off, then I would take a picture so I can show you that picture as well. I have that here. That's my shot from the angle that I was doing the drawing on That way I can always continue drawing from that. Once I get home and refined my study, it's funny. Usually when I tell you have a lot of pressure. There's always people watching him draw up rather than actual Oh with yeah, yeah, Usually people extend behind me and they don't think also because I joined so new people you should do go with the sketchbook. But I think drawing on my part is a new thing, and I think you reserve eyes I think a lot of people are more intrigue about how you control. Yeah, and the cool thing is that once you once you do things digitally, you can easily use adjustments and for the shop to turn it into gold. For example, I was just messing around, but it's quite a nice opportunity. Options. Yeah, on and not to. Not to forget about features that we showed in a previous month, the face ever liquefied that I haven't tried it on this one, but I think it might might work even though it's not facing us. Thank you to feel terror liquefy. Let's see what the show can recognize the face. He recognized the face, so that's a good sign. So if then I want maybe to select the eyes and I feel like the eyes maybe are too big. I just going to reduce the size off the ice and you can already see working. I want to change the nose or the mouth. Let's say the nose height. We can already start adjusting it independently. You can change the nose with so again, Probably the biggest changes would be the face shape, so we can change the forehand. We can change the Jewell line. And even though the Hercules have big beer, it's dear recognizes it so we can make making look even more masculine. Increasing their joint jawline face with can be adjusted as well. So if you if you can't get the proportions right on your drawing, you can use features like this to refine it on to get it closer. So, yeah, if we just see now, before and after already with that subtle changes, I think it already looks a bit better. It's really cool. It wouldn't affect pixel pays resolution as long as you have a high resolution or regional , which I start that this is the actual pixel size. It doesn't you can't really see the distortions, so I don't think it's noticeable as long as you start off with a high reservation image that's really cool, especially if you are trying to improve administration skills are still feeling a bit shaky , and you just wanted, like, try and see what looks good. What doesn't with proportions. It's good way to quickly experiment. Yeah, and then, by studying your own mistakes, you will. You will be much better next time, so this is over. You see, you can consider it cheating because you should get it in writing the drawing. But it's all up. Every time you draw something, it's a learning process. The way I treat my artwork is that it is just a study to improve my my skills. So by using something like this at the end, like the face ever liquefied, it teaches me to notice what where I went wrong and how I can improve my next piece. So it's a really good point. Yeah, like the revolution in having the ability to draw things digitally and being able to change things so easily is not something you should ignore it something something you should really cherish. Because I'm sure if the Great Masters like Michelangelo would live this time or Picasso, they would use these tools all the time. So Picasso was experimenting with all kinds of different medium after the early adopters. Yeah, so I'm sure these these artists would be using all kinds of digital techniques virtual reality and augmented way We're so lucky. Way live in this day in age with Elise available to us? Yeah. Definitely makes creativity a lot more like fun. Yeah, 13. Day 11 - Golden Ratio (Theory) #131/365: - with the golden nature. There's a deeper math Teoh Understand, which I won't go into too much. But you can be like, quite easily worked out with a quick Google search. And again, the site that I'll show you in a minute can give you a little bit more detail about how the ratio in the math actually works. It is important to mention that this this ratio is based on a mathematical sequences is very precise. Yes, if we just flick around a few of the images, you'll be able to see it. Of course. Um, so you'll be able to see that this is the golden spiral. Andi is great for in photography for placing the focal point of your image. So in the tutorial, I show how you can access it in photo shop using the capital on. Then again, I placed the focal point of my image like they have here, where the point of the spiral it's that on, then, what this does is great for natural feeling, compositions and compositions. But here again, the based in nature, because this sequence and it's found a lot in nature is good. Teoh used to create very relaxed organic feeling compositions again, this is a very famous piece of artwork. I can't actually pronounce the office name, which is? Yeah, Yeah, Japanese, I think. What? I can't remember his name. It's the pieces itself is called the Great Wave or can cannot govern Yes, it's a hook wish Hokusai I think we are. Yes, Yeah, I love this one. I'm such a cold Peace on the I demonstrated so well The Golden Spiral Yeah, I agree. And it's one of those that I didn't until I started learning a little bit more. I didn't realize it used a compositional technique, but like you say, there's something about it that just really works. Obviously, because it's become so famous. Eso it's This is a great example as well of how the spiral doesn't have to sit in one orientation, it could be rotated again. This is down to them. It's mainly due to the math. As long as you get the proportion and the ratio of the spiral right, which you can use photo shoot for. You don't have to work out yourself, huh? Then you usually on the right track, so yes, we just, uh this is a really good example off the proportions being used in logos. This is actually something that you showed me, which I thought was really interesting. Like some of the biggest logo. So we see every day used the ratio. Yeah, So again, the proportion between these two elements is the same. I mean again uses the golden ratio proportion, and we have again the National Geographic rectangle. The two sides is again the same ratio at 1.61 something in the Pepsi logo. Again, we can notice the smaller curve on the bigger curve again. Relation. I'm not a big fan off this, so go by the way. But it's still based on the way. The reason I'm saying because I actually love the nineties Pepsi logo. I think it's still the best one. I don't know if I know that. I probably do. If I see Pepsi logo uh, history co evolution. We can do that. Um, yeah, this is my favorite, one of the most iconic one. If I think off Pepsi, that's the one that that's the emission comes into my mind, even though it's like it was changing 91 last like so I was only like seven years old when they changed it. But I still remember that one. Not because I had a lot of Pepsi when I was young. I just visually, I think that's the strongest one out of all of them, and it comes down to a lot off things like the symmetry of it. I think that additional color is really needed. I don't know what that's just makes it stronger for me. Um, sometimes simplification for me doesn't always work. I just I'm not Yeah, I agree. There's something in the symmetry they completely lost on, and it just feels really unbalanced like this, like large red. And then this is what the negative space, the white Mexico negative space. So it was that the two separate shapes? Yes, it is quite uncomfortable to look at. Yeah, so So unlike Nike, where you have that's world, such an iconic element, and that's a brand that can just simply work with that take and you know exactly what it is . It doesn't have to say anything. Whatever color it is in, you will recognize it. This'll just never got to that strength that I recognize it. If someone told you to designing. Recreated boy wouldn't know the color like you could. Everyone would probably be able to draw the arch Golden Archer McDonald takeoff. Nike on. There's a lot of other I could like the apple logo as well. I think almost everyone would be able to draw it very closely to how it is. Why this one? No way. No color that they used by. Other than that, I mean, yeah, And just to come back quickly to the golden ratio, it's just beautiful to see how nature is actually relying on this proportion as well on, we can see as a pattern in all kinds of things. So it's actually a tool off creation yet which is the up endless creativity you can find. Yeah, definitely. I mean, it looks absolutely beautiful, and it goes to show that if nature uses it and it looks incredible, we should definitely borough that Yes, they learn from it. Yeah, exactly. 14. Day 12 - Out of Bounds (Ps) #132/365: - So if I have the original text here, let's see how it works. So it's just a simple tax. But then you put an image on top of it and flip it onto the taxslayer. So if I ought click between two layers, that creates the clip. And then what I've done is I duplicated the same image again, Eddie the mosque on it, and then that mosque. I'm just going to feeling the black or fill it in black and then switch back to another brush. That's just pick will be a hard brush, but that if I start drawing over these details, they can be extended beyond the text. But what? I also did waas to include a selection off the trees. So first I created a selection off the trees, turned it into a mosque, which you can see here on. Then I just simply painted over to hide details that I didn't need. So it looks more complicated than what it is, but it's actually a fairly simple technique. What you need to pay attention to is make sure that the Texas still going to be legible and try to find an image that's not too complicated. So something that has a fairly simple composition, like having just trees close to each other. And some images I found are better for this technique where you have a bit off death in the image. But the background is just very weak, so you don't want to have a lot of detail going on in the foreground and the background as well. So here we can just about make out of the trees in the background. 15. Day 12 EXTRA: this one where we have the word woods. I will try to set it up similarly to the way we had it. I think it was the formed court heavy. Something heavy. Tuhs with us regular. That's the front. So, woods, I like to use the free transform until on taxing for the shop. Just make sure always you use the shift key when you are a lot enlarging details and using the type tool I can use old or option left and right, that was to align them to each other. So this is current ing the letters. I always do that no matter what formed I'm using, but especially with capital letters and these bold letters, it's very important, um, to make sure that they are aligned nicely to each other. So if I just go back a few steps, you can't really see it here. Um, okay, doesn't matter, but yes, so you can see you can see that it's much better aligned already, and what I'm going to do is to have the trees visible inside electors, but also the trees coming out, and we're growing beyond the letters. So what we need to do first a warm is to swap the thing, swap things around and have the image on top off the text. So I just unlocked the background layer, and now I can do a clipping mosque between two layers. What's or option? Click between the layers will create the clipping mosque. Now I can create a separately or command clicking, by the way, on the icon, the new earlier icon will create a layer underneath your currently selected layer. And then, if you have Vytas your background color, you can use command backspace to quickly fill in the current layer. Made the background color. If you're if I use old backspace corruption, backspace that would feeling with my foreground color command, backspace or backspace. So that's almost all that we needed to do. On this already is a quite cool little effect, but it's a little bit too simple for my liking. So what I would do is to them duplicate this layer old click and drag to duplicate, and you didn't notice how it breaks free from the clipping mosque. Now we have a duplicate that's completely separate from everything else, but without moving it around. But I'm going to do is to make a selection here, and I would like to have a selection off the trees, the trees in the foreground. So these trees that are come going nicely up the toiletries. So I am going to first we'll start with a selection. In this case, I think what we can use is the quick selection tool. Um, or maybe actually, the rea color assert the color range is what I used or regionally. So I'm going to select that color range and click here on the sky in the background and shift leak a couple of times until I have a fairly good selection off the background. Okay, Something like that. And then maybe a little bit more, further now. So I think that looks quite good. Now I can click. OK, so having this selection, we click. OK, then, if I click on the mosque icon at the bottom, then this selection will be turned into a mosque. But notice that it's going to keep the details reasonable that we were clicking on. So when you are in the color range selection using the eyedropper tool, you are clicking on the details you wish to keep. But Then once it's turned into a mosque, you can use the commander control. I short got to swap that selection around, so then you will show all the details that were removed. Andi, you can reveal. Reveal them. So when we look at the mosque by auto option clicking on it, we will see exactly what we've achieved. Read the color range. So we managed to separate these foreground details from the background Onda way the mosque represents that is that right is visible black incident. So why details on a visible that's the foreground and the background should be all black. So in these cases you can just use the brush tool. And when the black brush you can paint over ALS, the details in the background that we don't need just going to use a soft ram brush and paint over all of these things here. But then, once we get closer to the details that are important and details that we need, there's a better way off going through everything. So I'm just going to increase the flu a little bit more, so I can pretty much go over these bigger details quickly. But then, when it gets closer to these bits like I can see a bit off the hazy details a year also hearing the background and here on the left side, these are easier to adjust. Violin This mosque of you by using the burn tool and the burn tools of the burn tool. Is this one the hand icon. So with the burn tool, you want to switch to shadows. That's the range that you want to select. Use a big, soft edged brush and then paint over the details and notice how the white bits will stay or they remain. And only the hazy grey details that are from the background originally will be filtered out or will be eaten of A by using the Dodge Tool sort of the burn tool so you can see how quickly I can feel it around and maintain all the foreground details. But hide whatever waas in the background. So this is an extremely useful technique. I use it all the time. Um, no matter what type of selection I start with, this can always help and then details that I think should be visible. I can switch to the for those I can switch to the Dodge Tool. That's like the pair off the burnt or like the complete opposite of it. But it works very similarly. But for this to when you work on mosques, you need to switch to the highlight option. And then you can paint around the edges and make sure that you're not revealing anything that's dark already. So when I go around the edges here, you can see that it's only going to make stronger the details that are already right. But it won't be bothering anything that's dark in the background because it's only affecting the highlight off your current selection or layer. All right, so now I can both click again on the mosque, and you can see how murderously it's Bean tied it up. And if at this point I feel like I'm not seeing enough off the trees or I want them to come out a little bit further, I can select both of the layers off the forest image, and I can use the, uh, shift up and down arrows to move them up and down so I can find the best sport for them. Something like that, I think, works quite nicely we can go even further if you want. I think that looks quite good. By the way. This we can always change later as well. And here comes another very useful technique. Were highly recommend this technique for anyone starting to work with mosques to try out. So we created a mosque for filtering out the background and keeping only the foreground details. So the trees here for the selection. But then I need another mosque to get rid of all the details at the bottom. Now I could select the current mosque and I can use the brush tool and painting with black . I can remove all of those all of these details, but to make it a little bit more known destructive But I can also do is to group my current layer on its own. So pressing command G were put it in a group and the reason I did that is because once it's in a group, I can add an additional layer mosque onto the group, which will affect the layer the same way. But thanks to the fact that we will have to layer mosques, they will be independent from each other, and I have the ability to easily turn on and off one and the other or individually make changes to them. So the first mosque was for isolating the faux graham from the background. The second mosque I'm just going to use to decide how much I want to see off the trees coming out. So you see, I have that second mosque added. So the same thing the Layer Mosque icon, now its added on to the group. And I can use the shortcut or so you're not short, got the of the brush tool and paint over the details that I don't need. So, for example, this detail here. I don't want to come out off the letter, but that tree, definitely. I want to make sure it comes out from the letter, and I'm just going to quickly go over here at the bottom so we just we can see exactly what we are doing. Okay? So I quickly tidy things up, and we can even remove things from the center. But because it's on a separate mosque in this is the key because it's on a separate mosque . If I now press X, which will switch to the white color and I start painting back. You see, it's not going to reveal the background off the image because that is on a separate mosque . So when I'm switching back and forth, you see, I'm only revealing whatever was visible after our first mosque. So that's that's an extremely useful technique. And I highly recommend everyone to try this out, to use this simple example with the two mosques that I created here just to practice how it works. So as in terms of the composition, I feel like for the letter s, I am going to keep the bottom and also this connection here empty. So I'm going to keep it empty because otherwise it would be really difficult to read it, so it's not really legible. Instead, I'm just going to make it look like the tree is starting around here, or this is where it grew out from the letter, and I can completely hide these details here, and then I can make sure that this centre bit is again going to be clear. Otherwise, you can't just can't read the letter, but I let maybe a little bit off the branches coming out here on this side just to make it a little bit more interesting. We can also use us hard edge brush in these cases so we can shape. I'm just pressing X along the time to go back and forth between hiding and showing details . So again I can hide a little bit more here and then I can probably keep all of these trees here because it's still visible, that it's an O and on this side we can decide how much we want to show off this tree. But I think it's again looking quite good now. This is a little bit problematic here because if I remove it completely, okay, it is very legible. But it doesn't have that nice connection that we had before, so we can decide to show this detail. But then we have to make sure that it's nicely tied it up and feels like it's growing out off this letter. The old letter, something like that. But again, this is completely after you at this point to decide whether you want to keep it more clear like that, or you want to connect the letters so you have the complete creative freedom. In photo shopped to go back and forth and make changes. Thanks to the fact that we are working with mosques, it's completely no destructive. So you can see how I'm making decisions as I go ahead and work, okay? And we can, of course, always go back and tidy up any details that we find now. One last thing that we can do is if we want to add a little bit off depth to the text. We can do that as well, by duplicating the earlier the taxslayer and just simply move it down like this may be just one step. And here's a cool technique. If I hold down the old shifty and start pressing the down arrow, we can keep repeating and duplicating, repeating the moving down one pixel step but also the same time duplicating the earlier. And that way we can build up the death very quickly. So it's like a fake three. The effect and we can decide how deep we wanted to be. Maybe that deep is enough. And then we can just simply merge all of these layers by pressing Command E. So this is going to be our depth lever and then I'm going to use the brush tool and pick a darker green color. Look the transparency off this layer by pressing forward slash and then pulled back space to fill it in with that selected color. Now, if it's a little bit too right, I can use command you or control you and reduce the lightness further. So is that color but a little bit dark or something like that? Maybe more saturated and darker, Okay. And something like that. And then we can further emphasize the death by using the printable again. But setting to meet owns this time and then wherever there is more closed in details like here that would be ambient occlusion or occlusion shadows. Um, so the light is getting trapped in these parts of there's not much like that gets in there . That means that we can make these darker and immediately you see how more three D everything is going to feel so I can make a make it darker here and then where it's turning , we can make it darker here, especially because there's trees there that are covering it up more dark. He and more docking that corner and definitely more dark around here. It's can also almost be black. And then we can make it darker here again on the turn. Um, and if you want, you can switch to the Dodge Tool said that again to me toes and then any detailed if we feel like gets more light can be bright and up a bit like this year can be brighter on then . This detail can be a little bit brighter. This detail can be brighter again here. Maybe we can do a bit more highlight and their dad and then this detail. Definitely. I can even make a selection here like that, and then that will restrict my the effect itself. So using the Dodge tool, I can paint over and when I removed the selection can see created that nice straight edge there. Now, one last thing that we need to do is to unlock or remove the lock transparency option, and then we just need to fill up the details. So in this case here, I'm just going to use the brush tool, zoom a little bit even closer, and then just tap once and then click again to make straight here again sample the color click and then shift click to make it straight and anywhere else where we have a clean cut like this one Old click click ones and shift leak Onda. And for that up here, as we're click on, then click Shift Click to fill it in. If I find that a little bit too far out, I just erased from it, like so so you can see with a little bit of extra work. Um, we actually took it further than the original tutorial. Of course, in one minute I wouldn't have been able to compress all these steps. Even just getting the trees are cut out. Was was a complicated task to put into one minute. To be honest, it's not even one minute. It's like 45 seconds, Um, for that short tutorial, but hopefully waas useful. I mean, we got likes for it, so that means that people liked it, But you can see that easily. It can be further improved, and there's a lot of additional techniques you can combine into even a simple design, as this 16. Day 13 - Onna-bugeisha (ProCreate) #133/365: - If I go into the time lapse, we can actually see that the time lapse work is with your time. That's replay starts off me, drawing first just the face. So first I thought, I'm just going to do, like a close up. But then I realized that it would be better than a za like the full body composition. And you can see that when I start drawing more like a man and I was actually planning to draw a man. But then I changed my mind and I turned it into the female eso sometimes and I start doing I don't know it at all what I'm going to do. I was just drawing and fiddling around, playing around and then I go inspired. And then this is the point. But I realized, like Okay, I'm running out off campus, so I will need Teoh start working on the actual pose. So that's when I started heading the pose and you can see I first start with the lines that will get the pools right. So I wanted to be very dynamic and have that, like strong stance on strength in it. And then it had to be feminine, but still you can see like she's a tough warrior. So you can see like that strengthen the lengths and the upper body as well. So and then I want I don't want to go in much detail. I just wanted to show, like how, the starting point? Because you are working again digitally. The starting point can be so different to what you are not with. So if I just quickly go back there, I wasn't sure what I'm doing. But then I ended up finding a quite cool composition. So I decided that I'm going to do coloring it, ending some background and then so on and so forth. You end up having something like that. Now I always find it hard. Teoh, stop. Like I know I could spend on a couple of additional hours easily on this one, refining the background foreground, but I just haven't had time to revisit that. So I think I ended up, Um, and I think it's important as well not to feel that you can't show something. It just because you don't feel like like you say, you could probably work on this exponentially. You could just keep going and going. But otherwise you never, you know, eventually used energy toy, which is really good. And it's the same with, like, posting your work up like, you know, if something is still refined, you can show the people, and it will get you noticed. Don't don't wait too long, and I also know you is never done like there's always there's always find amounts you can do. So it's best when you get to the stage where you think, OK, there's no much else I can do. Yeah, we're just simply I went to still know which details you should put which parts of the composition should be detailed and which can be just a bit more big because yeah, if if you have everything detailed really too high level, then it will be again a bit of a clutter so that you want to direct the attention off the viewer to the most important details. You can do that by contrast, but also by adding a lot off additional details. Like always, see, the face needs to be the most important detail here. Then maybe the hand holding the sword. You mean I think, Yeah, five hours. That's actually cool tracks. So in the canvassing with information you have both the time off. The time lapse, which is five minutes. And then the track time off the actual drawing, which was five hours. Well, yeah, and I think it even shows you that strokes. Like how many brushstrokes I needed to do this was almost 10,000. That's amazing. Yeah, that's cool. It was statistic. Really cool. Yeah. It's similar to, like tracking your steps when you Yeah, that's a tree. So can you 10,000 strikes cool to show, like the calories use for drawing this. Like, how much galleries I I that be high you're thinking about? Yeah, Exactly. Yeah. It's not just the actual brushstrokes, but yeah. You're not using your brain. Yeah. Yeah. It would be quite cool to see that 17. Day 14 - Celtic Knot (Ai) #134/365: - This one was a very simple one. And it was again just showing how quickly and easily you can create complex shapes like this by using the shape builder tool. So it was just simply three circles. No, actually, two circles. Yeah, it was just that circle and I waas 123 for three circles on then the combination off that I think that story all the time live shows it well, I can't. I have done it so I won't repeat that again. Instead, I just wanted to show why I was inspired to use a Celtic knot. I think these always see every culture has very intricate designs, but the Scandinavian patterns are quite similar to this. But the actual Celtic decorative elements are probably one of the most intricate ones from simple designs like the ones that I used as well in my tutorial thistles, Actually a little bit more at once version off that having a circle as well, holding them together. But the actual shape is the same that that triangular shape is the same. But then you can see that we have much more complex ones like that one must be a lot that goes into creating this. Oh, yeah, yeah, of course. And you see all of them relies on symmetry, so it's it's, uh, a both vertical and horizontal symmetry in most off them, but also is what makes them look interesting is that intertwining, fact overlapping effect that can be shown in several different ways, either by having a strong outline where you can see exactly what comes on top and what goes underneath. But it can also be done by simply leaving gaps like this one here. If I just zoom a little bit closer on that one you see here it's a field shapes or not outlines. In that case, you can just use simply gaps to indicate what's on top and what's underneath, so you can see this one clearly. Being above by that one is underneath, and that's just simply indicated by the gap. So if I had the gap here, then that would be on top, so that's that's all you need to do. Nice. Do you think there's which one? Would you say there's one technique this easier to apply than the other or overlapping or leaving the gaps? It really depends on the style that you're going for. So if you are using outlines like that, one or this one again is just using outlines and there's no feel, Um, then that's That's how you are going to do it. That's what I have done in the tutorial is well, so in this example, it's all about the outlines. But here I emphasize that Bickmore by adding those cars shadows so that makes it look more like three d four that goes up and down just simply by having those subtle shadows you can achieve that three d effect Nice. 18. Day 14 EXTRA: I'm a huge fan off all kinds of decorative designs, especially folk art. On one of my favorite one is the Celtic art, especially these notes that they created the geometric notes that intertwine with themselves. Some of these are really, really intricate, and in the session I show examples off them, and this one is actually a fairly simple one. So there's far more complicated ones than this, the Scandinavian designs that also quite similar. So like the Viking decorations are similar, or you can find similar elements in their motifs. And, of course, a lot of other cultures use similar patterns and elements. Even the Greek A. T ancient Greek art on decorations would use again intertwining patterns and motives. But I think the Celtics were probably one off the best. Uh, like most complex and most intriguing designs, at least for me. And this particular example is like a triangle. But it is actually made of three circles that are cut and looked into each other. So the way I would normally do this, and I'm just going to keep this design but make it smaller so we keep it as a reference here on the side so the way I would normally do these type of designs is to use shapes, of course, starting with the Ellipse tal. So I'm going to use the shift key to make sure it's a perfect circle. Holding them the shift. I created it. And then I'm going to press the to set it back to black outline and white feel. And then press shift acts too quickly swapped the colors. So now we have a right stroke black field, and I'm going to press the forward slash key to remove the stroke color. So noticing the swatches panel, we had the stroke in front, and if I just pressed forward slash, that's the same as clicking on the non Swatch, so you can already see by just simply doing a simple shape. I used a couple of short cuts here and just out of interest. Let's try to do this without using shortcuts. So if I use the Ellipse duel, I'm just going to go back to the Veii. Everything was set up something like that, and I think that's not even to the fourth colors. Let's just pick something different in colors. Yep, something like that. So if I start drawing. Okay. First of all, if I don't know that she holds that for the to keep it perfect shape. Instead of doing it like this, I can click and typing the size. So if I type in, let's say I don't know 300 by 300. That creates a perfect circle. All right, now, if I wanted to set it back to the default colors, I would have to come to the left side on the toolbar and click on this little icon here. I'm not sure you can see, but you can actually see it is just about my screen. So if I click on that one, then it switches back toe, white field and black stroke. And if I want to switch these around, if I just click on this arrow here next to it, that's going to swap them. And then if I want to remove the stroke, that's when I need to come to this. Watch a special, make sure that this stroke is selected, and then I click on. Not so you can see that all of this if I use shortcuts the way I explain it to you before I can do it shift like drag the shift, the axe forward slash Done. So knowing the shortcuts really makes a big difference. And, um, off course, the more i more I do things. So when I don't have to explain things, I'm even faster because I would be just constantly used these shortcuts. So I highly recommend to you really learn these the basic ones for examples. What I just showed you hear very often come back in, illustrator, because you work with shapes a lot. So, um, the next thing that I am going to show you is how to turn this into a rink. In the meantime, I can just see that victory saying that even though he pressed the bell sign or new cheap to get notifying about the life stream, it didn't send a notification. Um, maybe that is why others might be missing their life stream. That that I don't know why that is happening because the life steam actually started exactly on time, and I didn't change the time at all. So I'm not sure why that was the case. I will look into it and I will come up with maybe other ways to make sure that people know what we are doing. So I might be just doing a post and extra posed, like 10 minutes before we start five minutes before we start on patriots. But to be honest on Patriot, I don't really get a lot of response from people. So I'm not sure whether, um, people really check their Patriot emails or notifications on ever. So I'm not sure what's the best way to make sure that people joined the Life Street. So, um, it made. Maybe whoever is watching Victor or anyone else has a better idea. What a good way to do this in the future. Please let me know. But yes, so moving on. If I want to turn this into more like a ring, the obvious choice for that would be to swap again the colors. And instead of using the field SRE instead of using the Black Forest, feel I'm going to use it for the stroke. And then if I come to the appearance panel, I can shift click on the point size. Do you keep increasing it until it gets to this thickness on the stroke that we need? So that looks alright to me, Maybe a little bit more something like that. But the important thing here is that this is a stroke, and when you're working with a stroke is not as easy to cut into it or merge it together with other strokes. So it is always easier to work with field shapes. The good thing is that we can go through the object menu and choose expend. And whenever you use expand, expect a simplified version off the object that you have currently selected and simplified means normally a simple field shape. So this is a very simple example of having a stroke outline, which we are now turning into field shape so it will now become feel so you can see the selected object has black feel on it. So that's just a very simple technique. But now it means that we will be able to work with this easily, and we can start duplicating this circle. So I'm going to hold down the old key, and I'm going to duplicate it and drag it around. So holding that old key I'm going to drag it may be up to somewhere around here and then using the o shortcut. That's for reflecting the subject. I am going to select the center point off that other circle and holding down the this shape itself and start dragging it. I will also, while I'm doing this whole damn old and shift or option shift to make sure that it creates a Jew. Public health reflected to the left side. So what you can see here is that now we have the three circles together. But it's not perfect at the moment because these two circles here are too far away from each other. So imagine that we have a center point. If I have a ruler here, I can place that down and aligned to these circles. Let me just get, um I think I have something turned off here. Uh, show. I think the snapping. Now the snap peas on. It should work. Then if I snap to the center point of hysterical, that's it. Then we can see what's happening. So what we need is to make sure that there is enough overlap between these two circles here . So something like that we are after, um, we would be able to make measurements to make this perfect But I'm just going to roughly align things and then do the reflect option again, and you will see that now we are getting closer to it, I would say now they need to go a little bit further in. What you can also do is to hold down the shift key and use left and right arrows. So if I do it twice, I can do it twice the other direction as well with this one. And we can also move this up and down until we get a fairly even space between these rings so you can see those little shapes inside once they get roughly the same size. That's when I think it's going toe work and it is going to look OK. But as I said, we can always, um, measure things, and that way we can position these circles in the same distance away from each other. So the way I would normally do that, just just to show you is to use the polygon toe drew a triangle, so click and drag and then press down arrow until you get a triangle holding down the shift key. You can make sure it's like street as well. And if I set it up to something like this is going to set this to a red color just so we can see it better than once, I place it on to the place where I need the circles to be. I can that make sure that the center points of these circles align to the three corners off this triangle. So that way you make sure that it's perfectly even distances from each other now. It might not work as well as how I've just done it before. It's completely up to you, which one you prefer. This made it very close to like a perfect, even repeated pattern, and I think it's going to work just fine so I can even get rid off the center line. Now the rulers in Illustrator, by the way, are objects, So if I go back one step, you can see a guide shows up here. Sorry, it's so not the ruler. The guide. Every guy that you create dragging out from the rulers is actually an object that shows up in the layers panel that you can delete and even highly if you want or put on a layer that you can look so there's a lot of things you can do with them. Um, unlike in photo shop, they are not showing up in your layers. Andi, I think they are not showing up in in design either. Maybe in design, they actually show I'm I'm not 100% but it's for certain that hearing illustrator, we can see them as objects. Okay, so now that we have these shapes ready, we can do the following step, which is going to be important. So what I want to do now is to turn. I've changed the colors around bit. I am going to feel this of these shapes in Vida color. Let's make it slightly different what we have. So I'm going to use maybe orange and I'm going to increase the stroke that we have on them so we can see the outline betters. I'm going to set this to maybe 10 points, something lying. That and once I have them, was selected. It's important because we are going to use the shape of their tool. We have to make sure that we select all the three shapes at the same time. Now I can use the shape be other witches. Shift em. That's the short get for it. And then what we need to do is to join these elements together and also remove the things that we don't need. So even these shapes are not connected in any way. Shape builder can see what is overlapping, and they can consider those details, um, combined by default. So, for example, here, if I hold down the author option key and paint over the section, it will be removed. But the overlapping details will be kept. So the same thing here and here. I can very quickly get rid off all of those. And then if I similarly, with closer, you will see exactly what we need to do here. Actually, let me just keep and I on the original design that just helps in to make sure that I do the right way. So you can see that because we had three separate rings Originally, we need to make sure that these are joined up. So the parts that should be one shape or looking like one shape needs to be joined up similarly here as well. We just repeat the same thing. I don't have to hold on any shortcut when I'm joining details together only when you're subtracting, so I can again join these details up here. And that's all that we needed to do. So you can see how quick and easy it is to recreate this symbol. And one last little thing that I've done on the original one is to have those drop shadows there. They can help to have emphasized the depth and make your design a little bit more interesting. Now those shapes can be recreated again in a couple of different ways. One way to do them would be to use this original shape that we have here and then just duplicated. So let me show you the they that works. If I old click and drag this down a bit like that, I'm going to use the command shift right square bracket bracket to bring it all the way to the front. And then I am going to press the and remove even the stroke from it, just so you can see exactly what this shape is. And maybe I will reduce it's opacity as well, so we can see through it so you can see I just duplicated quickly that element to get that cast shadow or drop shadow that we have on the other shape. And then if I select all of these together so I can select them well together and I use the shape of their tool Now again, I can get rid off those details that I don't need. The only problem if I do it this way, is that if I have only one copy off that symbol in the background, then when I both click on the details that I don't need, it will actually delete wherever Waas selected, so it would delete our current shape as well. So the reason why I do it this way is because I need that little element there. But unfortunately, with this technique, we are losing the original symbol. So one court way of doing this if I want to work like this is to select these three circle elements, group them together with the command key and then press command C command F to duplicate it in place so you can see in the layers panel. Now we have to versions. I will turn off the visibility off one off them And now if I do the technique what I've just done with shape builder to remove the things that we don't need and just keep that one little detail there, I can now delete everything else. Keep that one little thing they're selected. It was actually one more remnant here to keep that one little thing there. And I'm just going to set it to black for now. And because we have the original version as well, I can just turn it back on and you can see that we kept the original design. But now we have this additional detail which we can use for our cost shadow. So if I use the eye dropper, I can pick the same colors that we have on the shape itself and the removing the stroke. I can now just go to a pass iti and set it to multiply or dark and or one off these bland moods. The only thing about illustrator is the colors might not show as well as in photo shop. I mean, the blend words don't always work exactly the same way. I found the a little bit tricky sometimes to work with them. So what I would normally do is just to simply mess around with the color of it. Maybe making it darker might help. I'm just going to go to the field color and just turn it down a bit, the darkness on it, and we can also try going back to multiply. That is a little bit too dark now, so I would just set it up to something like that. I think that looks quite nice. Adoption. The war car shadow. Now, of course, you can also make it look like a bit, um, blurry or like not as sharp because shadows are. They tend to have a little bit off soft edge, especially if you want to make it look like it's a big shape, because if it's a small shape and it has a very strong direction of light than shadows will be very sharp and crisp. But if it's a big shape on, then shadows will definitely be more soft. So not just reduced capacity what you need, but you need to also use an effect, and that effect here would be the blur. Gaussian blur. So from the Effect menu, and we're just going to select that And if I have the preview on, you can see how that looks again be. Even though we have working in Illustrator, we can use pixel based effects like the Ghost Sembler. And the cool thing is, that illustrator does everything non destructively or pretty much everything non destructively and effects for Argos examples. They are alive effect, which means that we can turn them off, turn them back on again. So just if I zoom closer, you can see and I turn it off. Turn it back on and I can click on the effect as well, and I can increase and decrease the intensity off the blur. So I'm just going to use maybe uneven mawr slightly higher, blur something like that. And if the zoom out that looks a very nice, subtle shadow car, Strettle and you can see how it emphasizes the shapes and the depth off this design. So, um, that there was a question Wiktor ask. Will there be more live streams on the regular YouTube channel? If so, maybe reminding people about Patri and there will help with the private life stream. Yet that is definitely a good point, and I am going Teoh do more life streams. So I have a really good set up now. Both the mic, I think, works well. Um, just by the way, let me know if it's like, too loud or sound is not good or any technical issues if you feel you can see in the stream . But I think that the set up is quite good. We have the lights. Um, I have a new I Mac through as well, so it's a strong machine. It feels like it's a very stable set up. So I am hoping that I will have time now to get started in doing more live stream on the on the channel as well. Um, I will also are not just me, but the team. At the time of design, there were working on additional videos as well that we will be posting on the on the channel. There's one that we recorded recently on its in the final stages. We are just getting it ready. There's a lot off interesting new Siri's ideas that we have that we want to do, so that will be expect at least one video additional with the on the on top off the daily videos that we are doing Perfect. But these videos will be longer, so they will be around 10 to 15 minutes long. And life streams will probably be between half an hour to an hour or maybe even longer s O if we have time. We might even do like one life stream per per week, or maybe one every two weeks or something like that. But yes. So expect much more content coming to YouTube on top off the usual daily 3 65 videos. So, yeah, once we start doing the live streams, I will be definitely mentioning the Patriot option and these private, more exclusive streams that we are doing here. Cool. So moving on, I'm not going to duplicate this affect the shadow because I think it makes sense. I could even just duplicated like this if I used the keyboard shortcut. Oh, and if I find the center point, I'm not going to struggle with it now, but you can see that I could rotate it around. I can just put one maybe around here, actually, something like that and I can rotate it into place. This has to be upside down yet something like that, so because it has a blur on it, I don't have to be so particular about where it's placed and I can again rotate it here. So I didn't even have to recreate the shape and got it into sections because we've done it already wants. But if you want to be very specific and you want to be very accurate, then you can off course do the same technique that I've done before. Of course, if we are not happy with the color, we can also play with that. We can even use a greedy int on this, so there's lots of different things that we can do. A really good exercise is to pick up Celtic Cross. I mentioned this in the in the session as well that we have in our bundle. So if you pick at design a Celtic cross or forever decoration that you prefer, try to recreate that and the more complicated it it is, the more complex obviously will be to recreate it. But the more you will learn and the more you will improve your skills, working with shapes in general in Illustrator and it's definitely a very useful skill 19. Day 15 - Glitch Effect (Ps) #135/365: - this was inspired by the rise of the eighties. Look, growing up with the nineties or eighties, these were common issues you probably face when watching the TV or show trying to get signalling signalling, I put my signaling So, um, in in graphic design I've seen recently that effect being applied to editorial fashion typography, and it's simply just using the distort free transform tool on making a distortion. So I think you show it really well in the tutorial. I mean, it makes and space and it makes elections. You move them around, and then I think you used also some noise feel terror on you can also use liquefy. You can apply other field is to wear. But technically, all you have to do is simply to create a distortion. Between the image is select an area that you want Teoh move. I used the free transform and just simply, or even just the move to move to select and then move toe with around Nice. Yeah, well, always see if you want to make it look even more like a glitch of fact. Like, I think this one is probably the most successful one, although it might be a little bit over the top, but this one has a lot of additional facts here as well. Like Cullen noise that appears there. Andi. There's also like this, this strange bending or lines appearing at the bottom almost like a barcode thes thesis cracks that would appear on the screen. So there's a lot ofs authority that you can add, which can improve or increase the effect. But it depends how overpowering you want. The effective. Sometimes it's probably best not to be too overpowering because you want the graphics to still be eligible. You won't be able to read the tax. I look so in this case is good to know when to when to stop you tangle overboard. 20. Day 16 - Gestures (Adobe Comp) #136/365: - I really wanted to make this tutorial because you can see how you can literally draw your layout, which I think is amazing. So it's so easy and intuitive on the go on the way that they've put these gestures together is so intuitive. Eso the idea that you couldn't transfer your knowledge from in design into adobe com so you can see that the image frame looks you could draw exactly what you would be used to seeing in design. Andi, I love how in the tutorial it was actually like your idea toe have this bar on that constantly shows up throughout the tutorial. Eso You can remember exactly what the gestures are and they're like for me, I think they're like the ultimate shortcut. Because they're like a keyboard shortcut. You literally draw it, Which was amazing. So yeah, no, carry on lets that C Yeah, I don't think we need to go into too much detail on this. I think is a great time saver. Especially when you're commuting going on the boy. You have to get started. Get some Like why even done so? Yeah. The good thing about the would be comp it works exactly like in design. So you have everything in frames, so you have the images and illustrations that you bring in as frames, taxes also in frames. But the main different series that everything is really easy to change. So it's it's designed for using your hands. So, for example, just changing the size is simply using that little school on the side. If I want to, for example, change the order of items and have the map coming in front off the camera, all I would do is to use the layers option and again instead of having a big leaders panel , you just use this going left and right so you can change the order. So if I move, this item may be here. We can see again. When I move it in front, it comes up or goes back behind. So everything is just so user friendly and easy to do so the other thing that we can just quickly have a look at here. So just undo this slaps, um, is that under the settings you will find a drawing gesture, help. So if you're not familiar yet with the gestures, this is the list bath covers all of the different technique. Your with all of the different gestures you can do so like, the less so select less you selected is really useful. And I showed that in the tutorial as well with that one. If I highlight the whole thing, I think we did it like that. Then I have the whole thing selected. If I just quickly wanted to select all of these things, I think we need to learn that it has to create, like, a little swell at the end. By creating a group like a impermanent group, you just select it. Yeah, yeah, so I highly recommend to try it out. And most importantly, once you're ready, there's so many different applications you can send it to. So, using your creative cloud account, you will be able to send it to these desktop applications. If you don't have a creative cloud account you can still use, that'll become for free. So that's that's It works on its own for free. You won't be able to take it in doing design or these other the best of applications, but it is still a great way off designing layout presentations and meeting for print. It depends what you dio what use it for. But I love the fact that you can't even like creative Pdf just use that itself. Yeah, it's definitely better than, like, word some people would design here. What? Yeah. Yeah. So you could point use it instead of words. Yeah. Or like Power point. Yeah, definitely. I mean, you don't have any nations here if you want to do a presentation, But it's a much nicer design that you can put together very quickly. And everything is edible. So I can select the line, for example. And I can change its size easily. Even the style I can turn it into the tree line or last line. We can have, like, round edges on the line. I can also go into the colors and I can choose from Assisi Library so I can find all my cc library color see year. I can choose change library as well find all the other ones. And of course, I can bring in elements from my libraries as well 21. Day 17 - Landscape Gradients (Ai) #137/365: - the example that I've done waas more like a desert scene, very quick and easy drawing with a pencil toe, and I'm filling up the shapes with the ingredients on. Here's Here's a similar a few examples off that technique, So here, probably it's the trees that makes a little bit look more complex. But the whole background are just a couple of single lines, and it's all about that, choosing the colors for it to make it look good on. It's called volumetric light that makes it look in the background, the mountains more faded, so it usually changes in color as well, depending on the lighting or the conditions of life. So this could be like a dusk or dawn or something like that, and then whatever the sky color is will be. The mountains and furthest in the back will be very similar through that light, the whatever they like condition. It's vile. In the foreground, we will have mawr, the actual local colors, reasonable sort of the greens, off the trees and whatever the mountains calories, but also the further have any something. Is the mawr reduced? The saturation will get. So that's another thing like the color changes, but also it's reducing in saturation. It's amazing the amount of that you can get in an image simply by understanding color. Yes, again like these beautiful Rolling Kills shows that really well, like having more saturation in the faux graham. And then as his fades out, you feel the depth that you see in the image the same thing again here, the way it fades in the background and reduces in saturation. But even here, compacted for the foreground, the mountain in the background is more de saturated and faded, and again picks up more the colors off the sky. That's why it feels different. And this is a beautiful artwork. Firewatch the Have you played that game? No, I have no such a cool game again. Very artistic. It's Do you know? Do you guys know Olly Moss? Demonstrator. He was the creative director for this day. So the whole game is like graphic design. Every part on the game. Wherever you look, it feels like a poster. So it religiously feels like you see here it has that aesthetic that a graphic design amazing illustrator like him would do and again just shows how well when the colors are used. Well, how nice. The whole thing comes together. And of course, he's great at January doing composition. But again, the main point here is the fade, the colors change. And these Grady INTs I used, um, Do you buy by any chance know what is the guy in the illustration? There is a person in here, I see. Okay, so that's a great detail. Is the game like that as well? Whether it's little hidden, Yeah, it's like an adventure detective type of game. So it's really cool on you play. You play a person who is becoming taking the roll off, working as a firewatch guardian. I don't know how they're called S o. I don't want to go into detail, but yeah, I like that. Is you in the game now? I saw Definitely thought this is also from the same game again. Another feet concept act, I think was done for the game. 22. Day 18 - Motion Blur (Ps) #138/365: - motion blur is a great effect or style that you can apply it to your work to show movement or any soul motion itself. On the These are some it's really is quite popular on, like sports adverts. I've seen that law like dancing or ballet. Yeah, it's just a good way to capture movement in a graphic. So I I really like this a bicycle. One is illustration. It's not really motion blur pipe. I love the way that they used the line. Mr. Klein's to show movement on this one is a good example of how they applied. Blood on the dam will apply it against human tree. So, yeah, it's the motion blur fact, but created by illustrating these polygons. So it's a mixture off that low, poorly illustration style used for showing the motion blur, which is a great combination because when you have emotion blur in the photograph again, you would have details blurred out that you can only make out, and the good shot that shows movement would have the detail. Importantly, they're stealing focus because what they do is that they there's a term for it used in photography that you actually follow the movement with the camera. And if you get a ride, like in sports photography, like on the racing events, for example, when they follow the car, if it's kept at the same speed, left the movement, read the movement off the object, then there are object itself stays in focus, but you can see the trail off the movement. It's really hard like this. This is is a practice. That's why something you might need to manipulate in food shop. Yeah, that's when you would apply the motion blur effect Yes, on unlit tutorial, put in a step by step like a guide on how you can create that affect the The examples you collected here, I think, shows it really well that once used artistically it all of these are illustration industry ation, all kinds of different illustrations and a combination with photographs makes media, but they all use the motion blur technique in a different artistic way. Like this one is more like a pain stroll. I love this one. Yeah, it's really nice and and I think this adds here it adds to it that it's not a straight line , but it has that curve as well, which is emphasized further by the hands and the and the legs as well. So, um yeah, it's is really nice examples. 23. Day 19 - Letterform Anatomy (Theory) #139/365: - every single let's form that you see is made up off smaller parts that all fit together to make whole like, kind of like Lego. But typography on bits important toe understand this because it makes it easier to work with type. So when you're thinking about turning when you're thinking about tracking and leading, you need to be aware that you know you have a senders, which could affect your leading on bond. Even Sarah ifs, and the way that your type is structured each each form is different, so you need to treat it differently on understanding how they're put together will help you do that and more intuitively, so there's a lot of unusual terms in typography that you need to get used to, and understanding them early on will make make working with type in the long term a lot easier for you. And also, if you're interested in during your own typography, it makes it a lot easier to get the proportion right, because it could be quite tricky on do. You can even start producing urine typefaces if you get really into it. So this is a I started with the very basic terms on. I'm actually planning on building on what I did and maybe I'll post up big toe. Add in some of the more detailed terminology, but if you do, I just grab these off of Pinterest. So if you're interested, there's plenty more terms to learn on some really funny names as well. Teoh, like here, is one of my particular favorite to check out. So yeah, it's just it's really important and really easy to find great example like you can learn these terms quite easily on it's quite easy to find examples, especially on my Pinterest or be hands on. A lot of designers have actually explored great like him like designs in their Selves of the look. Visually very pleasing. Yeah, like the terms become an actual piece of art exactly the way it's presented. Exactly. Okay, cool. Yeah, this wasn't really cool toe like it was reunited. Simplified way of showing how terminology of type of free. Yeah. Nice 24. Day 20 - InDesign Snippets (Id) #140/365: - you can export elements from in design. So, for example, if you created a composition off a frame with additional to tax screams inside it, So if I just like this one without the background, if this is something I want to use in other in design documents, I can save this as a snippet. By going to the file menu and then choosing export and reading there, I will be able to choose in design snippet. But my favorite way of doing this is even faster, simply Dragon dropping it onto the desktop. So if I select it and then I get to my desktop and drop it, see it automatically becomes an in design snippet file on done so that what that means is that if I have another document in in design safe, I just going Teoh print four. Let's just say on Ben, I just drag and drop this back in here. I can just click on. We already have the same set up straightaway release. It would be a work with images. Yeah, anything. You can even select the whole page and drag it out, and then you have everything the same way safe. It includes even styles. So if you have in the tax that you selected, you have paragraph for character styles, the snippet willing through those as well. And whichever document you put them in next time it automatically lowers the science as well. Save so much time. Yeah, I mean creative cloud. Since the introduction of Creative car libraries, I would say that it is a little less relevant because you can also save selections and just drag and drop them into creative libraries. So, for example, if I just drag and drop this here, it can become either a graphic for the text itself. So then I can reuse that in in design Illustrator for sure. But I would I want. But I would say the snippets can be still useful. Yeah, definitely. 25. Day 21 - Type Hierarchy (Theory) #141/365) #141/365: - Etoile itself was all about creating a sense of hierarchy within your type in larger compositions . And this is really important to pay attention to because if you get your hierarchy wrong, your viewer will be drawn to the wrong piece of information in your home position. So here you can see that the title for the event grow is the biggest important piece of information. But what's really nice is the straight underneath it. The design is obviously considered that the person is immediately gonna know, need to know when this is so. They've used a different way, but also like a different like a frame for the is they put it in like a box or a frame. Teoh, give that contrast eso the immediately that creates a nice hierarchy within itself. So within seconds of looking at this composition you get an idea of the name, which is gross, that gives you no idea it's about nature. Okay, I'm kind of interested in that. When is it okay, I can go to it and let's. And then as you work down the hierarchy, you understand more of the information. By the time you kind of get Teoh deciding. Gary, do you want to go to this? That's what you got dressed exactly, which I think works really well. And it's a great again. If this was if this was laid out slightly differently. You know, if the address was put in Boulder or bigger, or and it would throw it off on them immediately, I would be annoyed is of you, because I'd be that I hadn't decided to go to this year. And you're already throwing that piece of information at me. So, yeah, good example. Yeah, the way I normally think about type in general and like the signing the hierarchy is that you need to think as if it's a presentation and as if that even though it's just a single pick page, you think about it being almost like an animation that things would come in one by one and what you want the viewers I to go to so you can't. You can't treat it like an animation, but you can think about it is an animation and then you can think OK, so I want this first to be the most important than that. Then that way, imagine as if it was coming in as an animation. That's really cool. And then you will see it like whether it's too strong or not. You know, that's really go every cool. So that's like a similar similar example would like in terms of like the title and then a little bit more information eso. But I think more interestingly, is probably the next one. S o. I really like this because it's an example of how higher my hierarchy doesn't have to be overly complicated, but you still get a really good impact. So initially you might look at this design and think, Whoa, like it might be a bit too much, but actually, I think it's really clever because it's got It's got the contrast in colors and most of the information isn't actually legible, and it's meant to not be legible. And then you have this big, tighter word by word. And then again, like the author's name is slightly smaller. So there's still that little bit of hierarchy, and there was just enough. But the pieces of information are both equally is important, really on. Then again, like this set text that fits with the rest of the design the secret life of dictionaries, but with the red underlying so that comes in really nicely and doesn't war with the other two pieces of information but still highlighted. Yes, so clever is a very clever design, and it's something that really stands out from a bookshelf. So if I'm in the book bookstore, I would definitely pick this up as it's just like, Whoa, what is this? It looks like someone we know. It's on it. Yeah, and yeah, it's it's again, like both the hierarchy that's interesting here, but also how you can use the different medium for for highlighting anything. Contrast. So the actual background is a print on. Do you have the hem lettered tax on it? Yeah. So even if it was the same color, it was Seaga stand out. But by having a complementary color, it's ends up even more. That's really cool is well, actually, because having you explain that it makes you realize how all of these different pieces of theory, when you understand them all they fit together so well and like when you look at this kind of design, you realize that the design has a real knowledge of graphic design because they've applied so many different theories to this. So yeah, definitely 26. Day 22 - Shattered FX (Ps) #142/365: - this'll was the final result. The broken plate, but showing a face. And I use this this face here. If I increase the capacity, you can see it's a very bad selection off this face, but it just shows that that was what I used as the basis of my selection. And the technique is all about using the less Auteuil and then the shortcut. Command shift J is what I used to divide the plate. So if I have a bigger plate selection, let's say maybe that one that if I want to break this into to what I would do is to use the last so lasso tool, make the selection on, then a new press cowman Chief J. It's already broken. Amazing on we have a separate piece, also extremely simple technique. What you need to make sure you do is that you try to make it realistic by looking at references. So even for something as simple as that, I would still look for a few references off broken blades just to see how the cracks would normally appear on whether there's lots of small parts or there will be some big ones. There's another example here as well. So it's good to study things before you actually do it, because that's like everything. Sometimes you think it's so easy and simple. But if you don't look at references, you can get it wrong. Even a simple things is that on? Yeah, this was the one that inspired me to do it, which looks like a tree on. You can be really creative with any technical like this. It doesn't have to be a plate. It can be anything, really. But the same technique can be applied, and one last thing I wanted to mention about this is that I use that drop shadow on the group. But I have all of these layers. So these under layers that pieces off the plate and on the whole group itself, I have the drop shadow, which makes it easy to have it applied automatically to even that new piece that I created already had the drop shadow and another quick technique is that when you are in the drop shadow settings, you don't have to change direction and and go here. You can just click and drag here within the design itself, so you can very easily quickly align it. Where do you want? This has really usedto cool 27. Day 23 - Intertwined Text (Ai) #143/365: - it's quite similar to your Celtic graphic technique. It's a technique itself just to show a relationship between typography and the subject. So in these case, the woman is wrapped around with the typography on. I used on the two tour Pathfinder to show how you can, um, poor elements behind an object or two front. Yeah, so I check out the territorial by really like bigger things The Cool way could hand lettering to show relationship between two elements. This is a quite cold illustration, is a bit more public's, but I think I think it really works there. Done a really good job with that one. Yeah, I like how this line leads the eye through the whole thing. So is one single line goes through the whole copy and it's actually forms a couple of important details like the on A and E is part and the S Yeah, and even the T films the whole of the T, the color that's like all the hues you get like the full well, you get on the whole attacks again, changing as you would go around the hue from the reds to the oranges and the blues and degrees. So it has again, and I absolutely. And also not nothing to bury mind when you're doing intertwining text is good to know, be over toe overpowering still has to read. Well, we can tell you automatically what each of them reads, and I like the fact that's what example. In this 1st 1 that never give up. The artists would have been able to add more off these depth effects like, for example, here at the bottom. This is so subtle. It's not going around the leg. It just goes behind. Three. Only time it actually comes from behind and comes in front is up here, which again just goes to show that the artist I wanted to draw our attention to the head even though we don't see the eyes with that little swirl being there, being the only real depth effect really attracts our I mean the to that point. And then the rest doesn't have to be like over exaggerating that effect. It's just most clean and simple. Yeah, I agree. And I think it's cool because I think they have drawn your attention to that because then you immediately start to read from top to bottom. Yes, you. I mean, it's so it's it's hierarchy. Yeah, nice one 28. Day 24 - History Panel (Ps) #144/365: - The reason why I would like to talk a little bit more about this is because it is a very complex thing to explain in in in a tutorial, especially when you have only 45 seconds to show it. But when you use separately years and you work with everything non destructively, this is less relevant to use the history brush. But when you end up working on the same layer, it can be very important. So, for example, if I accidentally make a mistake in the beginning, off the process and then I go home and do some things that I really like, then I can still go back and fix that mistake. So let me just quickly do something here. I use the brush tool and I'm going to paint over this detail here on Let's say I don't realise doing it because I'm working on this part here after that. So I will work intentionally on one single a year, and I will soon switch to the clone stamp to let's say, Zoom a bit closer and I'm going to start retouching these details. So as you can see, I would align my brush to the details at the bottom and then paint over the elements to start getting rid of them. Same thing here, a line being over online on the other side, handsome so forth. So you can imagine that I would be able to remove all of these details if I spend more time on it. But if I don't realize it or what happened here, it would be very tricky to get rid off this because it's quite a big area on because it's only on one layer. I would probably have to go all the way back to the beginning to fix it. But by using the history brush double, I can keep all the changes that I've done here so far. So all those gold Konstam brushstrokes. But by highlighting the open state, which is already highlighted here by the way, this is the point of reference which you can move anywhere. But as long as it's before that brush stroke that I did accidentally, I will be able to switch to the history brush tool. So it's as this Tohir history brush tool and with that simply on the same layer, I can recover all those details without losing the changes that I've done here, So it's like a non destructive. They are going back, even though I didn't have separately years for my changes, the only thing I wanted to mention here he also is that under the preferences performance stab, you can increase the states that you can go back to. So the the fourth history Tates states that you get is 50 but you can go up to 1000. Wow, that would obviously be more. It needs more memory. But if you have that available on your computer, then feel free to use it. Amazing, that's where you go. 29. Day 25 - CC Files (Creative Cloud) #145/365: - I just quickly want to summarize and mean it. Like I like the difference between the CC libraries and CC files. So while CC libraries are within your applications and you can save assets and we use them , CC files are actually they are like the actual working finals, so you can store them in the cloud in your creative cloud on and it can be. A Photoshopped document can be illustrated fire wherever, but the advantage of having them stored there is that you can access them from anywhere similarly to using, like Dropbox or Google Drive live drive any type of cloud based storage. We work the same way. But with the added advantage that the CC files allows you to share these assets and whoever you share them bid can even my turn layers on and off, beating the browser without having for to show up or any of the adobe applications in stored so you can see under the Creative Crown desktop up. If you go to files, you can either open the folder on your computer and see your file, or you can also view them on the map. So when it opens up, I can see these files. And you can see I have even, like eggs. The files there. I have premier files. I have all kinds of different things. But if I go into maybe one off thes, I think I might have a few in this one on. This is probably the one that I used indeed tutorial as well. Um, if I go into details, I can see a lot of additional detail here about this design, including fonts that renews the colors that I used. And then I can also use comments. Yeah, the revisions. Andi. I can actually see how the original design local like if I want, so I can set it back, will restore it back to the original state. And that way it's It's like a backup or stored in the cloud. And then it will revert the file back to that state without me having to have multiple versions stored on my computer taking up more space. Yes, exactly. It might take some time because it has to be downloading go. That information 30. Day 26 - Silhouette Lines (Ai) #146/365: - most importantly again here. I just wanted to show you a few examples off this technique being used. So if we take a look at these, these are beautiful examples. This was the one that probably I took as a reference for the tutorial, but then we have much more complex examples now. This always it becomes more like a real piece off art. But again, it all comes comes to show that using lines instead off field covers can create still a sense off depth, using the varying length with on the lines. Here, it feels like this is in in highlight on that feels like it's in shade. So you immediately get a depth in the form just simply by varying the width is actually not changing the color. I thought the same. Color it just because of the fifth changing, you feel like there is depth and the same way again we have this one. It just shows exactly the same technique. But then we also have things like this where the lines even continue beyond the shape and I can just a simple change in transition in the lines by going from straight to curved line starts to be, find a form. And again, it's just such a smart technique on again here we have a clear sense off death again just by changing the direction on the line length. So, yeah, I highly recommend to play around with this, and you can be very creative, as you can see, like line art can be used for so many different things. 31. Day 27 - Baseline Grid (Id) #147/365: - baseline . Greed was a technique I explaining in the in design, which just helps you to make sure that tax, like you work with will be aligned properly when you work with multiple tax frames. When we look at this and return on the baseline grid from the greets on guides show baseline grid, we can see that even on tax like this, you can already have alignment issues if you are not using based on angry can see like here , the taxes not allying to this text. So what you need to do is to select all of these three frames and then you have to enable the baseline grid which you do from the type and paragraph options. And this is going to be here on the right side, aligned based on great. So once you say like that, you will see immediately that all the tax will be aligned to the grid. And if you feel like the line of the leading is too big, all you have to do is to going to the preferences and on the dare you will find great. And that's where the baseline great is so you can change the increment here, So it's a very quick and easy technique again to use. I think it's really important as well, like when you're working with it comes back again to the readability. So when you're working with text that you might wonder why these kind of things are important, like using grids, especially based on grid, sometimes they could be quite fiddly and time consuming. But actually, like the overall result on bond, the final piece and professional element to your work will increase so much on the more you get used to using them, the Maurin they it will become. So you just start turning them one as soon as you open a document and that will just run in the background, if your mind so even though at the moment it might seem a little bit fiddly to start setting them often, it can be a little bit frustrating to start with. In the long term, you're going to gain a lot from using something like this. If you work with text align. Yeah, definitely. I highly recommend to do it, especially for books, because in books it can be not only a problem that you have on the page on one page tax not aligned. But because you have copy on the other side of the page, I can be confusing to see different line positions. So so, like the see through Yeah, it's more like a printing issue, and it's uncomfortable to read. So having that and linemen throughout the whole document based on the based on greed is going to have to feel to these issues out cool. 32. Day 28 - See-through Text (Ps) #148/365: - Instead of repeating this, I thought I'm going to show up quickly the same technique with a cool image. And I am going to use a big shape first Wolf just create shaped like this is where the text is going on. Then maybe there is a tax. In this case. I'm just going to use one letter. Um what letter? Share. Use B B B. It's a nice I like it on. And then if we set it to what Phone share use picture rose. Your favorite, right, that is you're keeping creatura condensed on down, just going to use the free transform to increase the size. So let's say this is a letter that we have as a drop cap in this composition. Now we could use a very contrast in color like that. But if you duplicate your background layer so I'm just going to select the command J to duplicate and move it at both everything. Then if I now use command or control old G, that will clip their image onto the tax underneath. You can also do both click between the two years on. Then if I move this text around Sorry, not the text now that the textile year the type player have the old select all Okay, you can see that we essentially see through that books by setting it up like this, and I can use the rectangle to the other side as well, wherever I want to place it. And the best thing is because I've set it up this way, it's going to increase the thumbs. There's a bit. I can't even make changes to this if I want to write something else. If I want to write L or anything, you can see that is going to work. And I couldn't even write longer copy if I wanted to, and I can move it anywhere within this composition, and I can turn it upside down and it will work fine. You can use shapes, shapes. It doesn't have to be taxed. Whatever is on this layer, which is the actual mosque within the clipping group is going toe work like that, and the shape itself can be. You can add, like around corners on it. It's just increase that corners you can reduce. It's opacity on so many other things you can do. But he had the example that I had for this one. The see through text is this really nice post? So you can see that's exactly what I've done that it's all about like finding a nice composition. Good good hierarchy in the text again. Alignment. Yeah, it's good alignment. 33. Day 29 - Eleven Portrait (ProCreate) #149/365: - The reason I showed this example is that when you are looking for references for your fan art, you shouldn't like stick to just one single reference. What's best to do is to combine multiple references. So if I go into my folder, I can show you that I had actually multiple references. So I combined the hair style from the show with this, these two photographs that I found on bats always a good thing to do. So try not to be restricting yourself to one single image and then just copy that. Try to combine things and obviously, like change the colors based on their, like the theme off Siris in general, like they have these colors a lot in the series. So, yeah, that's that's just a quick summary or why I've done this and how I've done this artwork. 34. Day 30 - Circular Comp (Ps) #150/365: - main point that I wanted to just talk about here is that whatever you do always keep in mind that simple shapes can be very powerful compositional elements. So instead of doing like a four piece showing a lack of this landscape combining or these images having everything based on a circle which hopefully clearly visible here, is going to give it a very strong sense off composition. So that circular comp is what really sells this design. And it doesn't have to be very strictly following that circle because the cloud is obviously breaking out from circle here. It has empty space, but it still creates that things still suggest suggest it. If I move the clown off further doubt, I can already start messing this up and it starts to fall apart immediately because the composition doesn't have that overarching holding device. I call it sometimes, and I just wanted to show heroes so quickly that when I was working on this tutorial, thes were the references that I had that I really liked. Nice. Yeah, yeah, it's a very cool one. Very simple, but effective on a composition. When I do these tutorials, I find a lot of different images to work with, especially here, because I had to combine photographs and I test out lots of different variations before I actually end up with some with one that I like. So always Don't don't stick to the first examples or first references that you find explored different compositions. So one off them that I still think would look really cool, But I haven't tried yet because I didn't have to get to it. I actually ended up using these two mainly in the tutorial. But I think this one could look really cool as well, because it already has, like, a little arch like that Natural. Yeah, the dome. And then if I turned the bottom part into, like, a like a mini planet So at this photo is from picks, obey. If you are just using this code to search for it, if you want to give it a try this So this is the court under the image. You just need to type that into picks, obey, and you can download it. It's a free photograph. If you guys would like to give it a try, you can imagine it. I think looking. They explained that. Yeah. So the same technique. You can try it out on that. Keep in mind trying to create that circular composition with a little bit off breaking out from it. Yeah. I love how you like kind of forwards like things from the landscape. So, like, here, where you have, like, this stone and there isn't nature isn't neat. So it wouldn't make sense for it to be in a neat, perfect circle. So it's great to like in use the inspiration on the shapes from the images in that circular composition. And then again, just the shadow that I created underneath sells the like the volume of this whole thing. Yeah. On against off, So flight. 35. Day 30 EXTRA: Whenever I start the composition like this, I think off what could work well together. And I came up with the idea of having like a circular composition, and that was the key here, really, to keep the whole thing contained in a circle. Um, and you can actually see that. So if I select the elliptical, marquee tool you can see it's almost like a perfect circle. So there you go, something like that. So I find it used. The quick mask pressing. Q. You can see how it's all contained within the circle. Of course, there are imperfections. Eso it's not completely visible around, but it's based on that circular, original shape, and that helps to hook keep things together and your victory, saying that the last example looks hard to make. To be honest, it's not that complicated at all, a little bit more complicated than the other ones, because we here we have to do more selections. But it's more about the imagination more about like being creative. And when you look at something that's has a good composition, it's more about the thought process that goes into it, not not necessarily technically challenging or more complicated. So this is a perfect example, which I can probably recreate in, like, 10 minutes if I'm not talking and I'm concentrating on it. But it's Ah, it's really more about thinking how much time you spend thinking about what are you going to combine together? But let me attempt to do this quickly. So, um, as I said, I am planning to do a much more detailed version off this for YouTube. But now I'm just going to go fast on. Let's see how quickly I can recreate this. So I am going to start with the balloon. I'm just going to go to bridge and I have the Belene already here. I'm going to open that up. So let's have ah selection off this. I'm going to use the Quick Mosque, a sorry quick selection tool, and I'm going to select everything. Bought the balloon first, something like that, holding them the old key and then holding them the old key here on the bottom part. All right. And then I'm going. Teoh Press. So click on the mosque to turn this into a mosque command. I two inverted, so that's ready. And then I have a shortcut for turning this into a smart object. That's F six for me, just to save time. And this can be the file where we are going toe work. So I'm going to create the background white background color or maybe a grave on to just switch to 50% gray. This is the edit field option, filling it, feeling the background with Cray. So we have already our little 1,000,000,000. I'm going to place it somewhere. The reason I turned it into a smart object is that my, oh, I can easily increase decrease the size without worrying about losing quality on it. So we will maintain the original size that I started with without losing the pixels. All right, now, here's the other images. Just drag and drop it in from bridge. By the way from bridge, you can also right click and choose place in photo shop that will also bring it the same way. Will become automatically a smart object. Increase the size of this and this is going to be one of our first important details. So from this one, I used the the the the image pretty much as it is, but I removed the background. So what I'm going to do is to create a shape ellipse, holding down the shift key and trying to create that shape that we are going to use something like that. Put it underneath the image and old click to create the clipping mosque. So let's have a look at the original design. I think we can make the image a little bit bigger. I want to see more off this guy standing here, Okay. Something like that that's getting closer. And now comes the big where we need to remove the original background. So I am going to use the quick Mosque. Sorry, quick selection toe again on and maybe I mean, it should be able to select the background, but the guy is not getting selected, so it's probably easier if I just use quickly the pentacle. Okay, so I'm just going to paint around him with the pentacle, but not as a shapely your This is going to be a path, so I'm just going to paint around him quickly. Using the pento makes it possible to have a much more precise election. Okay, Something now I could off course use. Um, the quick selection or use other selection techniques. But I just prefer to have more control on important details like this one. And you could see that the quick selection toe was doing quite a sloppy job, which I wasn't happy reading. So I am taking my time on drawing over that guy, making sure that this is going to be a good selection. Okay, so that's all I needed. And I can hold on the command key and turn this into a mosque. Now you might be thinking, Why did I not do a selection off the grass? And the reason I didn't do that is because we we can easily add an additional shape in here , here, using the rectangle O'Toole. But this needs to go into the most of the mass, needs to be selected and then paint over it. Or if it doesn't go in the mosque, you can cut it and paste it inside their on. I can move this up a bit further because what we need to do here is that now that we have a vector mosque for this, I can at an additional mosque, which will be a pixel mosque, and that can be just simply using the magic wand over the quick selection tool highlighting the grass that we need so that should find the edges off the grass fairly well. And then so it Then I'm going to add that mosque. So this way we can see on the detail that we need on actually, No. Sorry, I made a mistake here. It's easier if I just used a brush tool just to demonstrate while I'm doing so here. I'm just going to use the black brush and paint over the background that we don't need. Okay, so you will see guy guy should be reasonable. Yeah, of course. Because I'm hiding that as well. Um, I over complicated things a little bit for myself. So because we have two mosques, I think I would just set it to somewhere around here and then use the other brush and then go over it. That's what happens when I'm rushing. I'm trying to be clever, and then I work against myself. But it's still got there. In the end, we can just make it look a little bit more natural, something like that. And by the way, because it's a pixel mosque I can also switch to a brush that is a bit more natural so we can find something like, I'm just going to vet media brushes, maybe, or were trying media brushes as something like this. And if I use this brush and just tap on details, you can see how immediately starts to look like grass. So I don't even have to get the selection perfect, because I can always re create a grass texture with some special brushes like this one. Okay, so that's there. And now I can just drag and drop. This will be the easy part. I can drag and drop this mountain into our composition places below the other layer. So something like that have these being mountains here. I think I had them something like that. C Yeah, it's quite similar to the original. Maybe a little bit further down. And then again, I used a selection off the mountains, turned that into a mosque. Now we can move the balloon and place it all the way to the top, something like bath. And don't worry about the shape, the shape that we have in the background. They will be able to hide by removed, removing the field color of it. And it is actually not even necessary to keep, um, we will use. We will use a, um we will use the feel or pass ups are not the fill opacity. We will be using it as a container instead off a clipping mosque. Because if we are using a clipping mosque, we will have to make sure this shape is the same color as the background that way feels like we can see through it. But that's not the best way of using it. Because then why have a background color? We will be adding will have to be matched. So it's not necessarily the best way of doing it. And I can see already that I can improve my mountain as well a little bit, so I'm just going to go back, uses hard edge brush and painting the black. I can go over these details here. Don't need these mountains. Okay, It's going to simplify some details here a little bit like that. All right. And then we need the same image again. Um, but in this case above the original, I delete the most that we have on it. And this is going to be used for the rocks in the foreground. So what I will do is to add a mosque that completely hided and I using the brush tool with the soft edged brush. Now, actually, hard edge, precious, fine and painting with white. I can reveal the rocks again editing to this clip that we have created here. And this way we can use the same image. But here in the foreground, as rocks, as if we can see, um, a cliff here in the foreground. So he's just standing on the ridge. And then we can see more rocks in the foreground if you see the original one. That's how it looked. I think I found the really cool detail that looked better. I think that one there waas the detail that I worked with so using Sorry. Sorry. That was cirie trying to interrupt me. Um, let's see. Yep, Something like that. Painting back with the black. We have a quite nice detail here. Okay, so it feels like it feels like it's quite natural, so you can't really tell it's the same image. What we have in the background. If if we combine it in a clever way, and then the only thing that we really need to sort out before I put the cloud in is that way. We don't want to see the fight off this circle, So the way I've done it originally when I go back, is that I actually created a vector mosque so you can see that all the images used that vector mosque to contain the shape. Um, so instead of having the shape like this, we can create a vector mosque, but it's probably easier if we do it as a group. So I'm going to put these in a group and then at the Vector Mosque earlier there and copy this shape into the Vector mosque layer. Now we can't even get rid off the clipping mosque, and you can see why it was more useful to use a vector mosque instead of the clipping mosque. Because now we have a complete freedom here can we can change the background color and it's not going to affect composition, so sometimes I might work or start working with a clipping mosque. But as I go along, I very often keep changing things, depending what I need. So we have the three layers, and I think I just see this quickly. Yes, I can see a little bit more off these details. I just simplify the mountains a bit there on that side. And selection is not the greatest year on the top. I guess I'm just going to refine it very quickly. I don't like this. He'll was showing, so I rather just simply find amount is a little bit okay. And then now we just need the the clouds. So going back to bridge, that is actually already in this image. So I just need to create cheaply cat and delete the mosques from that. Okay, so there's the cloud that I need. I'm going to make a quick selection off this by using. Maybe the less 02 would be easier. So with the less O Toole, I just drove around it like so and then with the color range, I am going to make a selection. May be off the blue in the background, so that way we can isolate it. Batter, Okay. Amps? Yep, Something like that. I mean, steak there, trying to feel around the cloud like so and then I can get the cloud into a mask. And then if I just used the brush tool, I can quickly hide all of these details around. Okay, I'm just rushing again. I live it because I want to make sure that we can finish this design now that I've started it. So it's not a perfect selection, and it was a little bit slow p that we have done it. It would have been impossible to do it in a bit more professional, elegant way, but it will get us there in the end. So I just mask out all of the things that we don't need. So now we have the cloud. And of course we can improve the selection a little bit by double clicking on the mosque, going into the select and mosque option, and then there within that, we can said the view to have ah black background orchards and get choosing own black, for example. And if I increase or at Smart Radius and increase the radius value, guess see that we can have a much softer selection. So we created a very crude rough selection. But by ending Smart Radius and the higher radius value. It looks already much better so we can see before and after. So this was the original and this is after before and after. It looks much more natural and soft, which works really well for this and I'm going to click. OK, so now our mosque looks already better so we can put this cloud all the way at the bottom in the background and I can make it smaller, but I will actually make it into alternate into smart object together with its mosque. So is just make sure I can easily reduce increase the size if I want to. And I think I had the size somewhere around death. So I want that cloud Teoh, go a little bit further out further out. I just left something there. I had to tidy up and then I can also make the Belene smaller. We can even have it coming here so you can see it's in front of the mountains above the mountains if you wanted to. But I actually quite like it up there. It forms that my circular, she So if you like, look at the original one. That's how I've done the composition It's quite similar I managed to achieve here. The one last missing thing that we need is an additional layer on which I'm going to use an elliptical selection below this whole thing, and I'm going to feel that in with black, then reduce the A pass ity of it and use blur on it as well. So filter blur Gaussian blur, and we can increase the blur. Do something. Well, that's a little bit too much be something around here. Maybe more rapacity now is needed, and then we can use the free transform toe even further, or something like that. And we can also use the eraser toe with a soft edge. Maybe just erase a bit, not all the way, but, like 30% on the edges, because we would get the most the darkest details at the bottom or just underneath this if it was hanging in air, this whole composition, but one that's very important thing that we need is to break up the edges a little bit more , so I would do that on another mosque Yet again, another mosque, a layer mosque on the group, and using the brush tool, I will zoom closer and just take a vase, a eat of a little bit from this rock face, also from the grass here. So it's not completely straight. The mountain can can have, like a nice shape like that, and then this mountain again. We can make it look like a very steep mountain that ends here, and that way we haven't quite nice, symmetrical shape, so you don't have to restrict yourself to wherever you get as a selection. Feel free to you, make changes and be creative, like you can see what I'm doing here. And then I'm going to add the more interesting edge on that side as well. And even here at the bottom, we can caught into it where I see like the rock changes shape, and there's another one as well. So immediately by just following what we see on the image, you can see how much more natural that edge looks like. So if I shift, click on the mosque and turn it off and then shift click again, you can see how much more interesting everything looks like. And if we want to sell this and make it even more realistic, we could create another additional layer and using the brush tool on a zoom closer, we can sample darker details from the from the rocks, and we can make it look like there is some death. So here, at the little bit off death, they're at that thing to it on. Then here we can have a bit more death off the rock face and that maybe there we can have a bit more and so on and so forth, so you can see by having just a little bit. Additional work can help a lot, and then we can actually make it look like that. There's more that fear as well. Even though it's just grass. We can make it feel like there's some structure going on here, so it's not just hanging in air. I mean, it is hanging. It looks like it's hanging in there. But there is a little bit off structure on and that that sells this whole composition so we can make it a bit more shaped like that. And then we can again paint here, so I'm just going to try to keep it around the edge, ease, have the dark shape there, and you can see once again, this is one leered. I just ended quickly and having that edit, their gives it a little bit more additional death. Plus, don't forget, we can use adjustment Lee years as well as the last step the mountain, for example in the background. So this mountain there here we can use, maybe I don't know, curves or levels. Come on, the hell is levels, and then we can make it more bright or we can make it darker in the background. Or we can generally increase its contrast if we want to achieve that, or we can lower the contrast and brighter. I think making it brighter might work quite well. It really brings out the guy in the foreground, but I think what I would do is to increase the contrast here in the foreground, for sure. So I would make that rock and the foreground much stronger and sharper, or like hiring contrast and also layer on which we have the guy. So something like that again, before and after that's not much of a difference, but still, I think overall we managed to recreate almost completely the whole design, and we can compare it to the original one that I created for Siri's. Here we have a couple of hanging rocks as well, but I think I've actually done a better job, had the bottom, maybe then the adjustments. I have done it better in the in the series. 36. Day 31 - Mixer Brush (Ps) #151/365: - I used this example to show how you can create fake paint again, faking in 40 show using photographs. So these are some. I think they probably use real examples, but again, I like thes example, assures how they used lots of multiple colors but not applied the mixer brush effective that medical effect. So I think it might be good to actually show the mixer brush makes about how it works. Yeah, so when you use the mixer brush tool, what happens is that you can move the details around. But why would normally use with the mix of rush is that I would set up the brush settings. So within the brush set things, I would use the spacing to 1%. And that way you can create a really nice floor on the brush bus. I will use now hard that just so we can see better what is actually happening. So when I do this, you can see exactly how it's going to move those details that I'm starting to drawn. And that's exactly what you are showing in your tutorial, how this becomes like a multicolored brush stroke, and then the mawr color their variety you have in the background on the image, the better. And I love the fact when you are using this this technique, that it already has a sense or that Yeah, like when I when I keep turning around you feel like where I started is the furthest away, And then it's like a little sneak coming towards us. Yeah, I really like how it looks like It blends so nice that naturally is well liked to begin with, it does feel more like a paint strike. And then the more you've gone over the more Yeah, really nice. You don't you don't necessarily have Teoh apply the mix of pressure. The Emmys. You is a good way to blend colors as well together, which you can use for character, art and so much more is a really good tool. Yeah, like And then I think what you've done is a text selection meeting that you would think, if you like Hamlet Tareen, type of coffee that has a paint effect. You can't fake it using a text just simply rasta rising food shop and then brush over. Yeah, Cool. 37. Conclusion: congratulations for reaching the end of this year. Long course. It's a massive achievement and we hope you enjoyed it as much as we enjoyed creating it and have gained planting off useful new skills. Don't forget to do the creative assignments as they will not only help you to practise the techniques you learnt, but also to produce designs and illustrations to be proud off. If you found this course useful, please leave a review on it to help us produce more courses in the future. I hope to speak with you soon, and until then, have fun learning.