365 Days Of Creativity - Month 6 | Martin Perhiniak | Skillshare

365 Days Of Creativity - Month 6

Martin Perhiniak, Design Your Career

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36 Lessons (3h 12m)
    • 1. Welcome

      2:45
    • 2. About the course

      3:21
    • 3. Day 1 - Colour Shift (Ps) #152/365

      4:55
    • 4. Day 2 - Surreal Art (Ps) #153/365

      2:55
    • 5. Day 3 - Graphic Styles (Ai) #154/365

      3:14
    • 6. Day 4 - Step and Repeat (Id) #155/365

      4:24
    • 7. Day 5 - Memphis Pattern (Ai) #156/365

      2:35
    • 8. Day 6 - Style Animation (Ps) #157/365

      6:46
    • 9. Day 7 - Geometric Landscape (Ai) #158/365

      7:24
    • 10. Day 8 - 3D Reflection (Ps) #159/365

      2:47
    • 11. Day 9 - Serif vs San Serif (Theory) #160/365

      5:36
    • 12. Day 10 - Raster Effects (Ai) #161/365

      4:19
    • 13. Day 11 - Page Numbers (Id) #162/365

      5:09
    • 14. Day 12 - Vectorising Street Art (Ai) #163/365

      3:03
    • 15. Day 13 - Bunting Brush (Ai) #164/365

      4:19
    • 16. Day 14 - Rags and Rivers (Theory) #165/365

      5:53
    • 17. Day 15 - Photo to Polygons (Ai) #166/365

      5:27
    • 18. Day 15 EXTRA

      26:06
    • 19. Day 16 - Pixelation (Ps) #167/365

      3:48
    • 20. Day 17 - Photo Montage (Ps) #168/365

      2:37
    • 21. Day 18- Analogous Colours (Theory) #169/365

      3:46
    • 22. Day 19 - Gridify (Id) #170/365

      2:54
    • 23. Day 20 - Concentric Prism (Ps) #171/365

      3:12
    • 24. Day 21 - Perspective Drawing (Ai) #172/365

      6:20
    • 25. Day 22 - Composition with Triangles (Ps) #173/365

      5:38
    • 26. Day 22 EXTRA

      16:37
    • 27. Day 23 - Warp Typography (Ai) #174/365

      4:02
    • 28. Day 24 - Photo to 3D (Ps) #175/365

      3:24
    • 29. Day 25 - Transitional Colour Palette (Ai) #176/365

      3:04
    • 30. Day 26 - Linked Smart Object (Ps) #177

      2:45
    • 31. Day 27 - Viking Character Art (ProCreate) #178

      3:26
    • 32. Day 28 - Drawing Roads (Ai) #179/365

      1:40
    • 33. Day 29 - Whirlpool Effect (Ps) #180/365

      2:50
    • 34. Day 29 EXTRA

      19:19
    • 35. Day 30 - Young/Old Portraits (ProCreate) #181/365

      4:51
    • 36. 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 Shift (Ps) #152/365: - we'll be talking about color shift. Yes, it's a print and technique when the color place. So in this case, the C M y Que or the RGB values are overlapped Onda. In these compositions, you can tell that they've been overlapped and then opacity capacity has been reduced or they've been used the used a mosque and technique. So yeah, it's just creates a shift between the colors. And I really, really like these examples because or the fact that they tend to use the same images or in image in similar frame or angles on. Then they overlap them together to create a cool composition and to tell their story yes, that again show movement on motion your image visually. Yeah, it's It's a really cool technique, and it's it's It stems from like a printing error when the she devil, when the plates are not aligned. Yes, and then it prints something like this, but obviously exaggerated and then used creatively. Even a printing error can be a nice way of composing your definitely. Yeah, so No, no, no. And I was just going to say this year we would probably see a rise in this trend. a maximum loss album covers magazine covers using these soft techniques. So it's they could technique to play around with and see what kind of image affected again . What do you want to say? Oh, I was just gonna say, it's great how in design that often something that starts out as a complete mistake could actually turn into, like, a trend. Like he said in itself, that's gonna be coming up quite a lot this year. And so something that someone, somewhere did completely by accident, has actually like, worked its way through. And now I'm a really popular technique and sometimes designs like that's how you create something by accident or is a mistake. But it actually goes, and the kind of really ships your whole sketch and you'll, yeah, so what you need to do if you want to do this in RGB, you just double click on your layer until you get to your layer style. And within that you can just simply turn off channels on that currently or so this is the reginal. This is the Green Channel on. This is the Blue Channel, Um, and then, if you want, you can even already do something creative like this. If you let's say you like the Blue Channel, by the way, you can combine two channels as well. Like this is quite cool as well. So instead of just using a hue saturation adjustment, Lee here you can play with switching channels up a bit. But even if I just use the Blue Channel and I duplicate this image and then go back and turn on maybe the Green Channel instead of using it on the whole image, we could add a mosque, completely hide it and then just use the brush tool with a soft edge and maybe set it to, let's say, 20%. And then we can into use these colors on areas. Let's just do a bit more than we want to bring out. Highlights more so selectively introduced colors. And the good thing is, if you are doing this on separate layers with mosques, you can still go back and continue to change the channels. So maybe red on blue might look even better. So if I just reset this mosque and I start drawing even more carefully, we can create an even more cool lighting effect. Very nice it almost feels like that was a light additional light set up coming from that side. Yeah. So you can be really creatively these techniques. And if you want to, You see a my kid. Like what? Shoe? Mediating the tutorial. Just make sure you change the color more to see him like And then obviously it wish double or three off those in there. Do you know why? It's k c m I K wonder. Coming? Yes. 4. Day 2 - Surreal Art (Ps) #153/365: - and I don't want to spend too much time on this. This is one of those things that worth experimenting with again combining photography with your imagination and pick drawing over photography all you have to really pay attention. I spent probably like three minutes on this, sort of. Maybe it's if I've done it actually real time within one minutes. It didn't take long to do this, but the most important thing when you're doing this is to pay attention to the color and the lighting. So, for example, here, if we let's just say I select that layer, which is used as the like, the bottom off that shape, or like the gap between the top and the bottom parts. If I reduced the color on that and it gets darker, it already has a slightly different lighting situation. This would suggest that the sun is much higher and there's no life getting to that bit. It's like little cave or enclosure, but when it's around here, it works because the sun is already further down near the horizon. We can tell based on the light so it would actually be bright, makes NC, and because it's set against the sun. There's not much detail on the rock on once again because we started off from an original photograph. I don't have the actual original photograph here, but this is how it looked. So when you have something set against the sun so a very high contrast photograph, you wouldn't see any details yet. Just a silver. And that's why, for example, choosing any photograph like this might be easier to first start out doing over, then to choose something that is very detailed. Yeah, yes. You can be a bit more on big us about the effects you Yeah, so it's much easier. 5. Day 3 - Graphic Styles (Ai) #154/365: - I created this tutorial just to show how quickly and easily you can reuse styles when used on designs. And these are all still creditable taxed. So, like this one here has a missing front, which I can just quickly fix. If I go to the fund options, maybe just select something that looks a little bit strange. Percent, Maybe that one. So let's again just shows that by combining all kinds of different the fact using the appearance man oh, mainly, and then saving them as graphic styles enables to you to apply really complex visual facts with a click off the mouse. So if I want, I can still go back from the appearance panel and turn off all of these settings. So or maybe even just press D On the keyboard is a useful shortcut, like resetting to default White feel black stroke and then because it was saved as a graphic style. If I go to the Graphic Styles panel, it has both of these styles safety here. So we have divided version and we have the yellow version, so that's how quickly I can reapply. So, yeah, it's definitely worth exploring these. There are loads of presets. Here is where you can choose from, but best thing to do is experiment in the appearance panel and then save it into the graphic styles panel on them. With the graphic styles, you can save these. Can you save these out and use them in other illustrated? Yes, very good point of question. What you need to do is to make sure that this is saved a za graphic styles collection, and that will be a separate file that you can then open up into other documents as well. So I think you can do it from here as well. Safe, graphic style library. So if I call this one dots saying next time, if I mean another illustrator document, all I have to do is to go up here and then user defined thoughts. You go. We have calls really useful. 6. Day 4 - Step and Repeat (Id) #155/365: - so stepping Repeat is a really, like hand nifty little technique in in design, which, predominantly is actually, I would say, useful in terms of being able to make. It allows you to replicate a object or shaped that you're drawing multiple times, and you can make his many rows or columns as you want and that conform Margaret on This could be functional so you could just make a regular grid of squares and then fill them all with different images. But what's quite cool is that you can also use it to kind of create your own kind of, um, artistic compositions. So in the tutorial I created, like an album, are kind of style with with this tall or with this technique? Andi. I found a few examples today of other things that you could potentially create using this same technique, but with just a little bit off editing afterwards. So, like here, there is a repeat off, Ah, few different shapes just tighten it close together on then what they've done is edited. The woman on top of things could be created in a few different ways, really. But you could definitely use step and repeat Teoh create this effect on then group those elements together, work on a new layer and add some more depth and fit. And she's really cool on this, Similar to the other two illustration, examples are found on then the Mawr editorial example is a really, really simple example, basically just a repeated triangle. But again, they've used the tool. They've used the technique and turned into a frame or container for from or information. So again, it's added some more depth and interest to the composition. So if you took those trying was away, it might look a bit flat, but boring. But they managed to frame it really nicely within the square, and the shape of her face works really well. So is it cool? It's not just functional can create something really cool. Definitely on duh. I think you explained it well in the tutorial how it works. But we can just quickly open up something in the Indies and just to make sure that we see how to do this or how to use it. So if we have any element, let's see an icon, which I'm just going to grab this one. So that's a we have doing a infographic or something like that. There are many different rays of doing this again in in design, but one way I think you explained it as well that way is that you copy morning them the old key. Start coping on them via coping. If you use the arrow keys on the keyboard, you can create the steps in between the first and the lost item. So that way I can create roll off these. Or if I used the up and down arrow, I can also introduce separate lines. So additional rose on. Then we created a whole army that if I wanted to do this, is an illustration for this piece. Let's say this is something about individuality or something like that. What I would do is to just quickly go in and change just one off them. To may be orange White might look better, and I could already be an illustration as simple as that. So making that little challenge contrast 7. Day 5 - Memphis Pattern (Ai) #156/365: - Memphis pattern. It was a movement founded in the eighties by Italian designers and not really shown to me. But you can read on the history on Google. But, uh, you you will probably see advising this as well, especially combining geometric shapes by vivid colors and creating composition on. I think it started off as using mignon homeware products on. We are seeing a a rise in designers using a four editorial magazine, even type of feet. I think I think it's a really cool style. It's definitely great if you love patterns and colors because you can combine with together , yeah, and then you can see that it can be abstract shapes, but it can also have some items, like some glasses. And then the castle cassettes there. So it works with a combination and again you see revive mint or the eighties style communion effect. Yeah, the eighties in general is really back in everything films, series, low laws, adverts, and so it's It's Yeah, it shows it. While that these graphic styles are coming back on. If you're also new to illustrate or if you don't feel competent drawing, this is a good way to experimental pattern making similar using geometric shapes or even simple circles and rectangles. Yeah, you don't really have to be an amazing illustrator to create these old patterns and coal. Nice one that's definitely worth exploring and looking into for everyone. 8. Day 6 - Style Animation (Ps) #157/365: - So I have the example that I used in this tutorial, and this looks much more complicated than it actually is. All you are doing is animating the layer styles to create this effect. So I'm going to show you using the timeline panel we have already. Here are the key frames that I added, So if I just zoom a little bit closer onto the timeline, we can see exactly why it's happening. So the attributes of a lier in photo shop that you can any mate you can see underneath. Yes, so you have the position, the capacity, the mosque, the position and whether the mosque is visible or not. And most importantly for this story or it's the style. And that's the only thing that I animated here. So if I just scrub around here, we can see exactly what is happening, and I paid attention to make sure that it is a looped animation. So it's it goes to the end, and then it will restart without any jump. If I set the play back to loop, then we can see this life. So if I press space, we'll see just looping and beating it sounds like. Yeah, exactly. And when you are doing something like this or you have to do is to set these points in time in the timeline, where you want the key frame to be on within that key frame, you just simply change the values off your layer styles. So, for example, in this case, you can see between the first and the second key frame. The outer glow is appearing. So that's how that the posts off that light is happening. S Oh, don't worry about the Grady, and that's moving around there. It's more about just that outlined that appears and then fades out again. So at this point, it's The outer glow is at maximum. So if I go into it. But for example, if I change that color to red all right, we will only see that it will appear and disappear. But it will appear first in red, and then it's been in blue. So because every aspect off the F, the effect will be animated. So if I choose, let's say from Red, I want to go at this point to again using out of blue, but maybe even big amps. I'm just going to turn the outer go on and I'm going to increase the size to grow even bigger and then just change the cover. Maybe I don't know Teoh purple. Then Now, instead of disappearing after red, it's just keeps growing and dangling base so you can do so many creative things with this. And as you mention Emily, you can actually export this into several different 54 months. So if I go into the fireman, you under there, I will find export render video with which we can save this out as an MP four file, which is probably the most common one that I would choose or on a movie if you choose a quick time. So these are more like an actual I feel. But if you go into the fireman, you again and you choose export safe for vab, then what you can do is also to export this as a gift file. So if we choose gift, we can see it already playing as a gift. Now, the only thing with this is that if you want to export as a gift file, you have to make sure you reduce the fire size because four megabytes. What a gift Fire would be too much. So why would recommend to do apart from setting this to looping forever? So it keeps repeating itself is to make sure that you set it too much smaller in size first award. So maybe, like 400 something like that. 400 pixels that immediately reduced it down to 500 K So half a megabyte, that's much better already. But we can also reduce maybe the amount of colors instead of 2 56 We can go down to 64 if I zoom closer. This is how it looks. It was still look good as a gift file. Now we have below 400 k So keep doing this on Yeah. I mean, the changes that you are doing here are quite self explanatory. But what's the ideal side? Do you think below 100 k would be recommended, if you can will be low 50 k even better. But around 203 100 it's already acceptable without losing so much quality. Yeah, yeah, yeah. So with its current size, if we go back, I think that's the current size. It still looks quite nice, and we can see how it would play. Always hear it plays slowly, but once you exported, it would play faster. So really cool technique without having to use a like video file, life after effects. Yeah, this is a simpler way. Yeah, I think is well, because we've seen such a rise in animated logos and animation in general is good to understand techniques like this. Could you? This would be great is like a teaser, so I can see it's like a teaser to a new campaign, like a release of a new branding project. Something's coming up on that as a graphic designer now did this. It's also important to know Be off motion I'm not saying is essential, but in that was good on your CV. If you can do basically so animation. Yeah, definitely. Motion design is really big, and you don't have to know any many CC or other applications. As you can see, you can do simple animations and for the shop as well 9. Day 7 - Geometric Landscape (Ai) #158/365: - geometric landscape illustrator tutorial. So that was the original photograph that I used and I base on my illustration, and what I wanted to show it with this tutorial is really how simplifying even a complex image like that can work really well. And you don't need to invent and come up with new compositions if you find a good photograph similarly to the one that I just drew over that rock in the sea. It's sort of similar. But instead off expending on a photograph here, you completely redrew it and then add additional and sorry. Yeah, character to it. It's really cool is all because by doing this, you can start to get a sense of scale and depth and understanding how shape works as well. So not only can you create new compositions from existing compositions, you can also start to, like, really hone in on your illustration skills and understands, like angles and depths and shape how things fit together based on something that's been taken from real life. So you next time you might be able to just go for it and give it a go. It really helps to improve or drawing techniques. Yet when you actually have a physical image to use as a guide. Yeah, so it's all about observation, more references you used to create artwork. The better you get next time. Doing it may be completely from scratch and just using your imagination, because you will understand how forms and colors and everything relates. Definitely just one thing I wanted to point out in this artwork is that the only clever bit I think that worth mentioning here is that I used again a graphic style for the House record. Is their fans off the meal? Just a windmill? Yeah, but those bits the ones that are turning I don't know. Let's say you know that there must be a time for you, but the damn one if we go back into the appearance, but also similarly to before you can see I used to strokes. So I have the stroke at the bottom, and then the darker stroke above and the stroke below has the dash line on it. So this one uses dashed line. That's why it's not constant line dash, and then the other stroke on top of it is the one that connected together. It's a very simple one against save. There's a graphic style. Just simply apply it onto any off those elements. Propeller, Maybe. Problem, maybe. Yeah. So if you haven't tried this technique before, I recommend it to just find a nice photograph that you like and then simplify it. So make sure to try to keep the details Teoh minimum via and before we move on. I just have something to show here, actually, for this one, So I have a few really nice examples, so let me select all of them together. So it just shows, like even with just a few simple shapes, immediately shows exactly where this is, or you know that it's like in a tropical setting that sand. It's sunny as an island in the background, as both in the foreground as the sea. It's just this simple shapes, and then same thing here with the lighthouse again, you can see the direction off the light very gentle, indicating, but that shadow angle or the shadow side comes back here as well against the works, with the direction off the light we haven't very like nice still have in the scene as well , with a subtle reflection so even like this is enough to tell that this is probably the ice . Yeah, yeah, that visual indicator like that's what's great about such minimalist design is that it's actually really clever to get because you can work things out really quickly on the The design has been really cover that just at that little bit of detail in it brings the piece together. It's really cool, and this one is quite cool as well. Yeah, What? What I love about this is the extreme crop. Everything is on the edge, like actually the windows, which tells us that that's a building on the part which is the only life actual object in the image. Everything is on the edge like the extreme crop. This is something everyone would advise you against if you do a composition, don't put things too close to the edge. Not just text, but also important details in a composition. But when you know the rule and you break it intentionally and you like, go to the extreme or making that mistake, he actually starts to work. Yeah, definitely is brave, but it works. Yeah, it's a huge negative space and everything is on the edges, but it still works. This is quite nice as well. I love the curvy lines in the background. Then we have a slightly more complex illustration. Was still very minimalist. Really nice against sense of this place is really good use of negative space in these compositions. Yeah, which is No is very tricky. Teoh. Definitely to get ride the balance, the colors again. This is so nice. Like, just because having that little curve, yeah, tells you that there is snow on top of the building. So it's like a lot of snow that built up. And it's just crazy how small details like that can tell so much. Yeah, definitely on the same thing here again, like we have a night. I'm just someone closer on this one. We have a night scene, which again? Just the light is gray dating out from that window, and it just shows it so well, it starts telling it. I really like this one, cause it starts telling a story is okay, there's someone in there, and it's let up in its The rest of the composition is very cold. And this is very inviting. Yeah, really nice. So Yeah, it's a cool, really cool style of worth exploring and just find some references and then try to apply this style on a nice composition that you can use. Photograph four. 10. Day 8 - 3D Reflection (Ps) #159/365: - three D Reflection. This is something that you can easily do in for the shop a zoo, long as you are a bit familiar with three D editing in general. But once against similarly to the animation that we've seen in the previous for the shop example, you don't have to learn the three D application to be able to do this because for the shop has a built in three D editing Mort. So if you have a tax lien, I'm just going to start this from from scratch, and I'm just going to type in test that's being this bigger. And then let's turn it may be actually a different color like this one would be better off backspace or option. Backspace is the short cut too quickly feel attacks layer video, foreground color and commander control backspace with fear with the background color. So that's how I can quickly switch between these. Once you have a taxslayer, you can quickly turn this into three D by going to the three D menu, and then you will need to choose the new three D extrusion from selected layer. So or you need to do click on that. It will ask you, Do you want to switch to the three D workspace? If you say yes, then you will get a different set of panels, and immediately we have a three D object that we can move around. So that's how it works. And then the example. In the tutorial, I explained how to use this mood to create a realistic reflection in three D. So it's all about like you would do no, normally into the You just have to have a Jubilee cat and they reflect it down and then at the greedy in mosque to have that fall off at the bottom Nice. 11. Day 9 - Serif vs San Serif (Theory) #160/365: - The main point of this tutorial was to highlight the difference between Sarah Ifs and San Serif . Because they're two of the main categories of typeface. There are plenty of others to learn about, but these are the two that if you're starting out in design, you're probably going to hear a lot about very quickly. So basically, yeah, the video just explains the difference between them. So the serif. So the more ornate typeface Andi there, actually, Yep, we're Thank you home, yes, So they're actually the more ornate traditional type faces on their called surface, because the little some people call them feet or flourishes that extend from the main shape of the letter are called Serifis. So hence it's called a serif typefaces quite easy to remember, which is usable. Unlike you can kind of see here there used traditionally and like printed ephemera or like anything that has, like resonates and has, like an older style or more traditional style. That being said, the you'll see in a minute, I'll show you an example of where now, in modern design, we usually combined a Seraphim in San Serif, and that's actually something that's really accepted and actually encouraged on understanding how to combine the two is a new skill in itself and something we have covered in another tutorial. So check that one out for bearing. Yeah, exactly. So just his ah, traditional example of how way San Serif would be used is a very like, you know, sauce is a very modern brand. It's Ted, technology driven on. Did it makes sense here to use a sans serif because they're very modern, very clean. They're very easy to work with on here. You you don't need the ornate feeling old fashioned typeface because the point is kind of the object, the photography and on the color. So however, like a say, this is a really good example off a serif and sans have been combined on. They work together to kind of create this really nice overall composition where you have the big like title in a sans serif, and then the smaller detail in a serif, which is traditionally a little bit easier to reader. So yeah, yeah, it's it's definitely worth learning about these things, but once again similar similarly to everything. As long as you understand where these things are normally used you can break the rules and applying them exaggerate, maybe things and then for something very modern, if you use a very stylish sorry for me, it can work as long as you you are confident in using it. That's comes down to almost everything. Once you learn the rules, you look at lots of references. You become confident, and that shows in your work. So it's less about sticking to the rules. It's more about understanding them and then trying Teoh go around them and then, like, re invent things that maybe is not as popular. And the moment there's a lot of history with type, so understanding the history off it helps you work with in the present. And, like I say you should, you There's absolutely nothing wrong with using a typeface that wouldn't have traditionally been used in the more than day because designs changed law and it's moved on. So I would even encourage giving it again. I just wanted to mention that, like these two phones are both San serif. Some, by the way, is a French word means without, So that's easier. Way to remember what son Serifis or that's without sheriff's on As you said, the Saref saddles little and banishment in in design. And I think in now in all three applications, but definitely need design. You will be able to filter your currently available funds on your computer based on their categories. So you will find Sarah if you will find Sand Saref. So in this case, if I wanted to do form pairings with Serif and sans Serif if I search for serif fonts, I don't have to school up and down and look for it. It does it for me. So in design, very quickly finds it. And then I can just pick one off these, maybe Dhoni. And immediately we have a contrasting two forints sat next to each other. Exactly. Looks really, yeah. 12. Day 10 - Raster Effects (Ai) #161/365: - raster effect in Illustrator. So this is something again, a little bit more technical that I wanted to talk about here and as just like making sure that you are a very off the fact that not all the effects administrator are going to be vector based, even though illustrator is almost 100% vector based. So all the tools and the features are relying on vector graphics. There's a few things that will be roster base, and the easiest way to put it is that most of these will be under the fragment new and in this category called photo shop effects. So you will find things like a blur, for example, that is obviously roster based through these effects. The reason why the a roster basis? Because these can cannot be reproduced using the crisp, sharp rector outlines. So it has to rely on the pixels, so it doesn't mean that your illustration will need to be turned into a pixel graphic. It will temporarily, it's called Live effect temporarily create a preview in using rosters. But when you're printing this out, it actually going to use that roster view, so you have to be very sure what you're doing so In this case, I intentionally left the roster effects settings on a very low resolution. And you can see that both here on the shoot on the drop shadow very pixelated and the blur effect on this as well. So if I select this and I go to the appearance panel, we will see that it has ago Sembler on it. It's not a high blurb. Once I remove it, it looks perfect. Once I put it back, it gets very pixelated. Same thing here on the left side. We have a drop shadow in it. But when I go to the Effect menu and on the document roster of fact settings, I increase the resolution to maybe even 72 PP. I once I click OK, it will regenerate the view and it will be much better. But do you think this would be enough for print? No, definitely no, no. A 70 two's better for screens, but definitely offer print. Yes, So what shall I use for print? Three. Yeah, so 300 is probably better. If you feel like that's an overkill. You can also custom type in, Let's say 2 40 That's already in acceptable resolution normally, and you can see how smooth and Chris us not so smooth and subtle. The edges are now. Yeah, looks much better than that. Like harsh pixelated effect. Yeah, but it's good to know that you can change this and set it to Emmanuel amount, because sometimes I actually use this on purpose again, going against rules like, what were you would be considered using for print if you our affair of it and say, Let's reduce that down for five. Big supposed is actually a really cool effect so you can turn your factor. Act into a pixel art so that can be used when we will be coming back to pics. Elation. Because I've done in another tutorial this month s so I will talk a little bit more about this. But just remember, document roster effects settings, Administrator 13. Day 11 - Page Numbers (Id) #162/365: - Yes . So this is adding page numbers and in design on it sounds like something that isn't particularly fund. But what is this is the obviously the final result. You can see that there's page numbers and is in a booklet. So you're working with I won't say anything above, like, five or six pages. And for some reason they need. Your viewer needs to be able to easily navigate to a certain page. You want to use page numbers? Yes, on the way to do this is by using your master pages in in design and adding a special character. So you go Teoh type insert special character, and then Mark is confrontation. But it's really hit in the way. Yeah, on I think in the tutorial, I just I showed the short cut rather than the long way round. Do it because I think it's easier to remember the short cut than it is to remember where to find in the menu. But whichever way works for you, then you should use that. Yeah, there is. So there is the short cut the command option shift. And if there's a feature that you know how it's called was the name, but you don't know where to find it. Press commander Control Return, which is the quick apply and then start typing the name off the feature. So this would be page number, and you can immediately see all the different features that has page in it coming up. But if I continue typing page number, I think it's current page number that it's called. Then you can see shows where this feature is so we can find it now easily. But if I just click on this in order, the applies it useful. So if you don't remember the shortcut, but remember the name off the feature inning designed, this is a special way of finding where it is coming from or even quickly applied. And next time when you use it, it automatically remembers your last use featured on the reason why it's a four here. Why light right? A four is because the design was created with that name. So the actual master page name s secretary for the prefix, for whatever it is. If I say G, that's what is going to show here. But within the document itself, these will be the page numbers Yeah, I think that's really important to mention that to begin with when you put it into your master page, it's probably going to look a little you might think. What? That six. This doesn't This isn't even a number, but actually, it in designer work is very clever working out what page on will go through and label all the pages. And if you delete a page updated so you don't need to worry about that, Um, and there's also ways you can get rid of it off a certain page if you don't want it so you can just create a new master without the the the page market set up. Just drag the new master on to the page like that, and it would get rid of get rid of it. So that's really useful if you if you say I have a magazine and you don't want the content page Teoh have a number on it. Just use that. Yeah, yeah, we're even. Sometimes when you have, like a new chapter starting, you might not want to show the number there because it's like a full image or something like that. And then you continue showing the number in the next bridge. Yeah, exactly. Cool. So that's a nice one. And, yeah, like Emily said, it's it's. These features are important because it's very likely that you will make a mistake if you're doing it. Yeah, I also worked the previous designers files and some of their page numbering on They can really mess up when it comes to printing, especially for doing catalogues or magazines. Is really important that you get this set up right on that earlier state. Definitely. Yeah. So anything that can be automated you should use, um there was a reason why is automated Because it's very important for different reasons as well as enough aesthetic. Yeah, cool. 14. Day 12 - Vectorising Street Art (Ai) #163/365: - street art and wrecked arising street art. I'm just going to show the final result here, which you've seen in the photo in the time lapse tutorial as well. So this is the actual bit that I got from a graffiti, which I've seen here on one off the beach Huts, inborn meth walking around. It's a really nice design again, if you remember from our last month conversation talking about containers and shapes to use for your compositions again, it's really works nicely in this circle. Yeah, it's called ISO because you don't necessarily even have to do it. Someone do it. Something you found you get is a way to collaborate with people that you know as well. So if you know someone that's particularly good, you know, hand drawing or, you know, doing things with pain or with spray paint or whatever. And you're better with the with the software side of things. There's nothing to stop those skills marrying up using these kind of techniques. And then again, you know you can export these and pop them onto be hands. So we mentioned last month, and it's easy for you to both get credit for that work. Really good. That's a good point. I think desire this really important. Also collaborate with traditional artists. Combining boys together, like I said, can create amazing artwork. Yeah, definitely. We've seen last year being the in Ireland, there were so many amazing street street graffiti artist. Yeah, it was like, What was it like? A street festival? It was like art festival in Belfast. Yes, on Duh. Yeah. Again. Like I could see. Like how everyone was so friendly. So if if you approach them, why they are doing their work and you say, Like, I would love to do a piece on this digitally, I'm sure he would be happy. Yes, as long as you credit that. Exactly. And that's the most. That's the important thing. Is just making sure that if you're gonna use something, turn into your own or if no, credit your artist and yeah, Good. Cool. 15. Day 13 - Bunting Brush (Ai) #164/365: - bunting brush that you created. I think this is a important element. These air, usually using kids bro Shizzle, Station Aires Or you can even use a four posters and for events on it. We want to show you how you can easy create bon tins or in other repeat patterns without having to repeat them individually to avoid mistakes. And I think it just has a better wife Low if you just create any repeated elements as a brush. Families Fourth birthday. Brilliant. Okay, way too cute for kids aren't and I have seen a lot of station. I like that one is because that's, uh, that's a band right machine. She's She's an artist. Yeah, but she this style is not really reflecting her music. Or is it? It's quite similar to her album. Are I Really Love Here? How they've managed to use quite quaint, um, elements that you wouldn't associate with me, that you wouldn't normally associate these kind developments with, with a musician really, like you say. But they've managed to kind of capture her. She's got quite flamboyant, and they've managed to kind of capture that really nicely, and they found a way to incorporate these quite quaint kind of old Iwo OD kind of element that really helps. Yeah, 100%. I think the wanton itself is a really popular element we see in Baghdad cars or any form of celebration. But I think it is also very popular to improvise. British coal train a bit Sometimes yeah is very English to have a tea party, definitely the festival music festival, or depending on the colors you use on the bunting, while actually that the triangular one is very English. And then if it's more rectangular or square, it would be more Nepal Tibet, because they have these pretty Here it is like so yeah, pay tracked distance. It's cool result because the technique of using like you say, like a repeat element as a brush could be used for loads of stuff. So I can imagine it working really well. If you had like a crowd, if you needed to draw a crowd of people, create a brush so you create a set of people and then you make it into a brush, and you could really quickly draw a crowd or a forest or anything really, anything exactly becoming anything that's repeated. It's probably easier to use a brush. Yeah, by just one more thing about the composition on the right again holding device, elliptic elliptical shape. And then things just coming out gently out off that. But it still gives it a very strong position on has a lot of nice negative space. On the edge is great color choices on I like love, love the way that the highest contrast is on the face. So there's no eyes. But you still have drawn to the face because that's pretty much the only fight against Set against black, which is close to the edge of the hair. So highest contrast possible you can do with color. Yeah, looks really good. It does. It draws your eyes straight. 16. Day 14 - Rags and Rivers (Theory) #165/365: - rags and rivers problems that occur when you're working with type in your body copy and they can crop up all the time. And sometimes they're they're things you really need to watch out for. And in the tutorial we walk through where it's been exactly what a braghis so hit on the top left, you could see that an unbalanced rag is when you have uncomfortable theme. The right side of your margin is really uncomfortable on jagged, so it's really uneven, and it dips in really far sometimes and comes out far too much, others on. And this is a problem not only visually but also because it makes readability really difficult. So your eyes of having to work really hard to get away to the end, and then they have to come back in, and as a reading, you kind of just give up. It doesn't have yet. When you are reading, you need a rhythm or anything that we're doing. We need a rhythm, because how I don't want to go deep into this, but I love music in general. On bond, our body works with freedom. There's a heartbeat first award that our life rewards around, and there's that rhythm to our reading as well. So the to court life functions that will about read, Um, so when you're doing things, even simple things like reading if there's no rhythm, you will feel uncomfortable. And when it's jagged edges like that, what I'm balance drag. There's no reading because each line is different length. So the time that it takes to read one line and going back were very each time. Unlike that, when you have a more balance upon either justified or more balance one, you will have them nice rhythm and your body will adapt it and you will enjoy reading. It's like there's a whole science behind these things. Yeah, and it's on. That's what's amazing is that these people, sometimes people are. So why do I need to worry about that? And actually, like you say, there is scientific fact behind it on, and it makes a big difference toe the way your piece communicates and how professional looks and generally like how people respond to your work like, say, it's innate in us to enjoy reading something. This that's well balanced and has good rhythm. Andi, that's the same when we're thinking about rivers, which appear quite more often when you're using justified text on again. We show you in the tutorial like a fix for this s o check that out. So you know exactly how when you see these problems to sort out nice and quickly is isn't again. It's an automated way using paragraph styles. So it's not something you're gonna have to read through every single page and worry about as long as you said up properly. And your documents? Yes. So as you can see, the rivers in this text are very dramatic. You might not get them quite this bad. Yeah, it's ah, in this example. Yes. No, it's weird because newspapers and stuff they still have. I do it. It's more still common. It happens if it's if it's a sloppy editing. The this example. The reason I want to highlight is because here we can see that the main cause off Rivers in particular, is two factors can exaggerated. One is to have very narrow with the line. Length is too short, way too short here is probably ran 20 characters when like 50 to 70 would be a healthy one , so That's one of the reasons the other one is the justification. So if you use justification and the very narrow with that would just be horrible yet on this one, and it's so hard to read and it doesn't even look like a body of text. This you can tell this was done on purpose to point. If you read, it points out what just trained exactly. But, you know, like I say this, this is something you really want to avoid because you can't your your eyes have to work too hard to read, and you'll just give up, say, the one fix. If I kept this as justified on the the same with us, this one thing that could improve it a bit is hyphenation. If you introduce hyphenation two days, it could already look a little bit better because then in design would have a they off splitting up the lines and distribute text a bit more. So, for example, example the world example could be broken up somewhere here and immediately. We have a bit more here to fill up the space. That's a really good point. Yeah, so if you use justification and you have to squeeze your line at length, then you will probably have to introduce hyphens hyphenation to avoid having the reverse. 17. Day 15 - Photo to Polygons (Ai) #166/365: - so the example that I have in the tutorial was a tiger on. Then I done the drawing there on I went around on drew the triangles or thes thes shapes over the tiger. But here is the technique shown in two steps. I'm just going to show this artwork next to each other. So it is a time consuming a type of technique to do because there's there's a couple off mobile APS I've seen that can do something similar to this. But obviously, if you want to do it properly, you would do it manually, and it would take some time. Now. The important thing to know is that it actually comes from three D design, especially old games. Emily. You might not even remember those type of games that the actual models, I mean, like the character that you were playing had something like this, or even worse, like literally just polygons, because in all the games, the graphic cards and things like that was not strong enough to support, like really good looking graphics. Well, so actually, I'm just going to show this is a little bit off. I can't see game history one off the one that comes into mind. Even Tomb Raider, if we went back to the 1st 1 would be like that. But alone in the dark, The first game, um, was one of those games which has really extremely low political, is that you go. So yeah, that's how your your main character looks like. And this is like an enemy, and you can see the it looks incredible, like how bad it is young. But back then, this was the best thing graphic ever, and this was cutting edge. And I remember playing this game and I was figured out. It's such a scary game, really. It starts off. I think this is the first scene and it starts off already, like in the attic. And the monster is coming and you have to do something very quickly. It is a very, very stressful game. Even though it was so bad the graphics, you could still get into it back them now when he kisses, it looks Looks really Yeah. So this style comes from the polygons in his thes old graphics, and it's used in all kinds of different things, and it can look really cool. Um, so yeah, I mean, there's a few examples here on this one. Actually, is an interesting one, because this shows exactly how it works in a three D model or these animals, our three D models, which we can tell quite quickly, because off the lighting like this would be very difficult to actually doing like Illustrator to guess which face off these polygons should be what color and what value again it all comes down to like, um, being a very off How Light Works is a is a very important skill for any designer and illustrator. But T mastery two point, even on simple shapes like this that to make it look like it's a three D model is very difficult. So it's much easier to actually do hit in three D and then just rendered without Yeah, yeah, I think it's what's really interesting is that rendering into a three D model this kind of a whole another area of design you know I love about the tutorial that you created is this is an illustration style in its own right. On the the whole kind of idea isn't necessarily for it to look like it's been rendered. It's more for stylistic purpose. Yes, on congee used in projects, editorial law, a standalone prints or kind of however you want. But you can really inject urine style into it. And some of them are very rich, very realistic. But some like this, like seen here, obviously meant to be more abstract, but they work really well. So is I like the style. And experimenting with the style and coming up with your own way of doing it is really cool . Yeah. Yeah. Free pick is, by the way, a really cool site, and they have loads off. This is also like, a free asset. You can download knife and a really high standard stuff there, so we use it also for some of our tutorials getting some elements from them. 18. Day 15 EXTRA: So, first of all the polygon technique, why is this important? This is actually something that was really trendy a couple of years ago, and it is still in friend and something you can still do, and I'm not going to go into much detail on this, but I can just show here an example off photo turn into an illustration. Technically using this in this technique and polygons are used in three D design to simply 53 D models. Even very complex three D models usually are made up of polygons. It's similar to having pixels in a digital image. In a photograph for three D models, we usually have polygons, or obviously there's a different surfaces. Well, what this is the most coming, what that we use or they use in like games and the In the commentary video. We talk about this on the show, a couple of interesting examples. How much more visible waas in all their games that nowadays you can't even really tout anymore that the models are made of polygons because it's so sophisticated and detail. But there is also this revival off art styles like now there's the eighties, our style is back in trend, and the the same thing, like pixel graphics or write very obviously pixelated illustrations is in style and the same thing that polygons its again. A technique that keeps coming back or like it's it's again, has its uses. It's not something I would use for all kinds of things, but in certain cases it can be a very interesting art style that you can use. And the only problem with this technique is that is very time consuming. So the example that I used for the tutorial waas this image here and the question whether whether every photo is good or not for this technique, I would say for that question that, um not necessarily. It's good to find images that have a really clear outline, or it has a good contrast in terms of the colors, not necessarily from the background but on the actual subject itself. Because if you have a very, um, low contrast detail or something that doesn't have much detail, it is always a little bit tricky because with polygons you will have a limited space to work on the actual details. So if something doesn't have ordered enough details, it will be difficult to turn it into an even less detailed illustration. So I always say You don't want to pick against something that's too complicated, so anything where the very tiny details are crucial and important because you are going to lose those details. So if we look at these three images next to each other, the original photograph and a poly conversion, you can see that I kept subtle details like the whiskers to make sure that it is still working. So I mean, it still looks OK in the final result and recognizable but other details I had to give up on. So there's there's lots of subtleties in the original photo that we cannot take just physically cannot take into the final polygon version because we have very limited. As I said, So I am not going to recreate the fool in the illustration. It took me around an hour or maybe even like two hours to do the whole thing, and it's still not something I would use in my work. I would still we find it further. There's a lot of refinements that I could do here on, probably used more smaller polygons or triangles wherever it's possible, but wherever it's necessary. And that's again another thing. You can already see that I used smaller triangles wherever there's more crucial details, like around the eyes. But I used bigger triangles where there's not much difference in terms of colors. And also there's less detail that we need to highlight. That's like the neck or the back off the head of the tiger. So again, like nose, the eyes years on the face. In general, this is what what needed I would have in general is what needed more detail. So if I open up in image in Illustrator, let's say this one. Actually, it opened up in fourth shop. That's finest. Close it up. I need Illustrator. Let's open up, illustrator. First of all, I'm just going to create quickly and new document. So let's just set itself to the landscape size. Let's get, like, regular size document. For now, it doesn't really matter what size we start work England, And then what I'm going to do is to place this image into illustrator. Now, if you right click on it here and you choose open with, that's a good way to open it up as a new document. But if you want to open it up or place it into your you're a document that you created, the best way to do that is from Adobe Bridge Going to the five minute and choose place in Illustrator. I would call it into a straight about place in demonstrator. Makes sense as well. Now, why is this better than just opening up something into a Indus? Traitor? This means that I still have all my switches here for this default document. While if you do it, find open, then avoid me any switches in that document and that sometimes he doesn't and wing or it can get in the way. I prefer to place it into an existing document. So if you don't use bridge high, highly recommend to download it, it's for fire management. Probably one of the best applications, especially when you work with that will be applications in general. So we have here in the creative cloud app or desktop publication. We have breached CC. That's the one that I use for managing my projects. I see. Use finder for General Fire Management, copy pasting things, moving my files from one place to another. But for actual opening things up and reviewing them, I use bridge because Ridge is much better for for that purpose. Okay, so let's get started. First of all, I will need my layers. So I'm just going to show Miley years a little bit more here on the right side and what I normally do. What I tend to do. His first work double click on the Layers panel mastery on the currently here, which only has this image placed into it and then turn on template or template. And once you turn on template and you click OK, it's going to turn this into like a tracing layer. So it's almost like using the light books. When you have, uh, think paper, the several paper or like piece of paper puts on top of each other, and then you can draw over your previous drawing. Animators use is very similar to that, So we have this deemed version off the image now, and on top of this we can create a new layer, and that is going to be our tracing. Or we can call it illustration layer like I always name Miley your so I can go. This one has the photo. So on the illustration here I was start creating my polygons or triangles. By using mainly, I will be using the pen tool. Now, if I zoom closer to this image, I can decide where I want to start. But let's just start somewhere on an interesting detail. Someone around here. So on the front, off the have off this profile. So I am going to create a triangle. Let's see what happens. Fight. Create the triangle here. Okay. By the fort Demonstrator will draw in the d fourth colors. Whitefield, Black stroke. Now, this can easily be reset or changed. And I recommend changing this. Of course, because if you keep that white detail in the middle, you won't actually see what's happening behind it. So it will be tricky after a while to keep track of what you trays over and what still needs to be worked on. So the best thing to do is to press forward slash icon, which is also the question mark Mark a short cut. So if you press that keyboard, then removes the currently selected color, which in my case was the foreground color or sort the field color. But in case you had the stroke color selected, you can switch between the two by pressing X so X is selecting either the feel or the stroke color. These you can find here on the left side, in the toolbar so I can see now, for example, stroke of very selective. And I pressed XML, the field Calvary selected. So when off the fuel calories highlighted you press forward slash that removes the fear color, by the way. So if I pressed the on the keyboard, I can always very quickly turning back to default colors. So D for default and then forward slash um, for removing the field color or the currently selected attribute. Now, once we have our first triangle, we could continue drawing with the pencil. And what I would normally do is first holding down the command key or control king of PC and click somewhere every from that first triangle. Now this helps to make sure that you don't add additional anchor points or remove existing anchor points from your previous triangle. So this will mean that I can hover over and find the previous anchor points that I plays down, but all I have to do now is to simply click, and this will become a new path or automatically instead of affecting the previous one. So those points points will be aligned. But they won't affect each other. The two objects and that's the way I want it so I can draw my next triangle. Here. Let's say something like that, right? And then Commander Control, click to click every now let's feel this gap here. I can again find that point there, find this point here, and then I can close it up to turn it into full try angling out. You can actually avoid going over lines twice. In case you are pointing to use the greedy int also not the greedy in the life paint color option. That is also an interesting technique. But I decide normal. I mean, I prefer to work without that and I like to use instead of just simply the eyedropper tool . You will see why. So I am going to just draw a few more of these just so you can see how I will continue So I can continue from here from this point, and I can drew another triangle. And you see the triangles don't have to actually be the same size. And it's actually better if they are not the same size. The best thing is to try to keep following the shapes in the photo in the background. So I'm almost trying to resemble the Vaid. These triangles are like turning. It resembles the shape on the at off the tiger again. Here, I could call maybe this way with my next triangle, and each time I cook, close them. Then I can do the next one, maybe slightly differently. Something like that. Then another one. Something like that. And then this detail here I can do either lead, long triangle or maybe a few more so I can do something like that. And then I can do another one here, something like that. Now the only problem is when you have lots off small triangles like these and then you have lots of big ones. Next to it is that there is not no transition, so it's a little bit too abrupt change from having big triangles two, and they ended up having small ones, so it's nice when it evenly spread out like here. As I go up, it looks like nice. It's like a natural transition, while at the bottom it's a little bit too quick. And also the angles change a lot on these triangles. So I'm no happy with the way this turnout. But as a good thing is, you don't have to go with the first way you do it. You can think about other ways of doing it as well. So that's say okay, so if this didn't work, then let's be a little bit more subtle here. If I just use two triangles, how does that work? So I'm still using the command key technique when I start a new triangle, just just to make sure that I removed the selection from the previous triangle. So command clicking is almost like resetting the petal. So come on and take somewhere outside, resets the pencil, and then let's try to do another try and go down this way. Now this, if you can see, is already much better than the previous way. I mean, I could add another triangle here as well, and that may be literally covered exactly the same shape. But now it has a much more nice, much nicer way off, transitioning from bigger triangles, two smaller ones and still maintaining that shape that we need to cover. So the same thing I would do further up here as well. So I would keep searching for a good way off moving through the design. And one thing that you need to make sure is that you always click on the previous anchor point to keep them all connected. Now the best way to champers is to use the shortcut command. Why? But I'm just going to zoom a little bit closer so you can see it. Command, why is going to give you the outline view? This is accessible from the view menu as well, So view outlining view. Reach now it says GPU preview. So if I press command by again, you will see outlined for you there. So it's like a Togo between seeing the GP a preview or the outlines now outlines is going to show you all the vector shapes without any attributes on themselves. No feel colors, no stroke colors, no facts. Live effect. Just simply the normal outlines off the parts. Andi. That's a great way to check whether they are all aligned. But let me show you what happens if I make a mistake. So if I draw a triangle, let's say from here to there and then by accident. I don't connect. Maybe even like this point here. I'm just going to click intentionally in the wrong place. Okay, so you can clearly see that that one doesn't match the other anchor points. And, of course, that's not going to look nice at the end. So what can we do in these cases? Well, first of all, you can use the direct selection, toe the white arrow toe and drag those points individually until they snap onto the other anchor points. This is obviously only going to work if you have the snap. Two point enabled from the View menu saw view and you snapped the point. It should be by the fourth an eagle, but if not, just make sure you turn it on. That way, when you drag these anger points around, they will work and they can snap onto each other. But let's have a look at another, faster method. If I make a selection with my direct selection tool on all of these anchor points, the ones that should be on the same spot having the most selective. I can go into the object menu and from the pop off option. So object path I can find an option called average. Now. Once I click on that, it would ask me whether I want to every trees, both horizontally or vertically. I mean, either horizontally or vertically or having both of them aligned. And this is basically almost like a lying or move them all in a centralized point. So the current point that is not matching the others when we will be moved slightly to the right and down while the other ones will be moved up and to the left. So their average, which is like a center point from all these ankle selected an anchor points, is going to be the new point. And all of the selected or highlighted anchor points were moving that same shared point. So I factor like okay, you can see that's exactly what happened. The day still points here. If I select them, I can use the same command. This I have set up a command option J or controlled Jay. I think that's the default shortcut as well for this feature. So if I use that and click OK, then now you can see they moved into that position. And if I check it in the outline view now, it works perfectly. So this is how it was before. And then this is what I've done with this option. Now, of course, at this point, if I want, I can always use the direct selection tool. Make a marquee selection around the points. So not just simply click ones because that will only change the top most object. Instead, you want to make a marquee selections, you click and drag, select that whole section, and then you can move them all at the same time. So you can really find the best sport for each of these points. So we find one. I can also do the same thing here. So these points just like these points here and I can with around just like the other one above. So last thing that I would do once I have a good wire frame built with polygons, I would select a polygon and switch to the eyedropper tool. Why? The polygon is still selective. Now the eyedropper tool shortcut Is I on the keyboards or suggesting repress I? But before using the eyedropper does one important thing to do. You need to double click on the eyedropper tool in the toolbar, and you have to make sure that you set this up not to be a point sample option, but to be a five times fine. Five average. That means he won't just simply sample one picks when use that color for your object, but it's going to create like an every reach from the area where you click so five by five is 25 pixel zone. It's going to sample, and averaging those colors will give you your actual color for that selected object. So that works perfectly because that's what we want. We want, like a minute or simplified version off that area turn into a single color. You can off course have Grady INTs as well on polygons, which can create a little bit more subtle, nice transitional affect. But if you just want to use single colors for these polygons, this is the best technique. So if I click OK and I having having that shape selective I click on the image behind it. Bindi fort. It's not going to work because what you also need to to is to that's term off. I think what we need to do, we need to be. I think the image needs to be embedded. Let me just double check this. There's one last thing that I always forget. If I m back the image, that's right now if I saw like that now is still not picking up the color of just Strange said, because that images looked no, uh, should be picking up the color. I may just quickly switch details. His weird should be changing the color already, I think. Oh yes, I think I know what's wrong. If we have a feel color on this image or this triangle and then change no, it's still picking it up. That is weird. Why could that be? What else is preventing it to pick it up? Maybe the eyedropper tool I need to remove the appearance option there and then, yes, that was the problem. This is actually good to mention as well. It's something that some for some things, it's good to have this own like if you want a sample live effect from one object and use them on another. Then this option should be turned on. But it prevents for this technique to work, so it actually needs to be turned off. So once again double clicking on the eyedropper tool, I would give you the options or preferences of settings, and you just have to turn off the appearance checkbooks. All the others can stay on. Just make sure you take off the appearance option. So once you do that, having a ship's acted now it works nicely, so we can select the next trip as well. And click on there again. You can see if I click in a slightly different area. It's always going to be a little bit different, depending where I click so I can select another one again. And so on and so forth. What I usually do is keep the idol per selected so once that once I have a lot of little shapes created, have the triangle selected, so the eyedropper tool selected click on the color and then to switch to the next triangle . I just temporarily hold down the command key. The commander control key is again a quick short Get the switch between the shapes while still having the eyedropper tool active. So again I can sample from here. Come on, click on the next shape Click command, Click on the next shape Click on. Uh, if I don't like the color, I can press the former slash and I can we pick my color until I'm happy with it. So I just want a little bit slightly different shape their Come on, click on the next one. Then Come on, click on the next one. And again if I don't like it. Very simple, said I next one. So the next one and so on and so forth so you can see that it is a time consuming method and sometimes it might be a little bit tricky to select certain triangles. But in general, that looks guy good. The only problem I have is these two triangles are too similar in colors. So these two that I have here just look my background here, the foretold here. So this one I would definitely change. I will try to get it different from both sides, so yeah, something like that, as long as it doesn't blend in too much with neighbouring two colors if we will work nicely . But another thing you can also do is once you select the color color, you can going to the re color artwork option, which is this little like real color villa there and then you can very quickly change the brightness, saturation and even the Hugh if you want off the selective color. So even though I pick the color from behind it, which was supposed to resemble the colors underneath the polygon, I can still go back and refined those details. So that's basically it. So if I turn off my background image, you can already see that it's starting to come together. But you can also see that it is a fairly time consuming technique, especially if you have a complex image. But even with simple images, it takes time, so it's not going to be a quick and easy technique. So I hope this helps to really understand how this technique works. And this was probably the most complex technique out of the three that I'm going to show you today. So it took a little bit longer time to make sure I can go through everything here that you need to know. Um, one last mention off another part of the technique that might be worth using is, of course, you can use the re color artwork, not just on one single triangle, but you can also use it on multiple trying goes. So if you end up not liking the hue on them, for example, I would select them all. Go to the re color artwork, a little color veal up there again, switch onto the edit mood and then link these colors together with the little chain icon there. And then you can start moving them all at the same time, so you can see how quickly and easily I can convert these colors into any other colors. Vile still maintaining the differences between them, so shades, luminosity and saturation difference will still be present. You're just changing the hue, maybe 19. Day 16 - Pixelation (Ps) #167/365: - the next topic was picks elation. But we talked about roster of facts in Illustrator, and this is the technique that I've done here is simply for the shop using on the fact If I opened this one up, we can see it because I've used it on a smart object. It became a smart filter. If we go back to the layers, we can see the effect is called Mosaic. If I turn it on and off, we can see how it works. It's completely non destructive. You can find it from the filter. My new I think it is on the pixel ate was a. There's actually a lot of different ways off Inpex elation, and the good thing about using a smart filter is that you can always go back and change through the amount of calls you can increase. Decrease the cell size, which which is useful. But I think for this one as well, I've collected a few additional examples to show. So if we go back, Teoh picks elation. Um, this these some of these were like the inspiration behind the tutorial and way can we can see that again. A simple a fact that we could consider again, like a flow when something is pixelated or used for more like things where they want to cover or like suggest at something behind it. It was like masking something. Yeah, exactly. Or like in some footage is they would use this to avoid showing the person face. Yeah, again, something as simple as that can be used to achieve a very interesting composition if you are using it in a creative A. So I love the fact how these pixels here are or disintegrating. So it's almost like she's fading out into digital form or something like that. I think it's for me like I would is interesting because everyone interprets it differently . So for me it would almost she's too young. But I could see that working for like, an Alzheimer's kind of you know, where you feel like losing. Yeah, on again, what's what's great about Like you say about these kind of effects is that if you have a good concept behind it and a good idea, you can apply it in so many different creative ways. Like the statue on the right is has, like more of a relaxed, more kind of fun feel to it that you you kind of are they blurred out like a traditional statues? Yes. Modern. Take on something traditional is nice school again. The juxtaposition of these two things makes it work. Yeah, all kinds off. Simple techniques can be used in a creative way, and it's worth exploring and experimenting with them. 20. Day 17 - Photo Montage (Ps) #168/365: - The whole point in this tutorial was that if you are combining multiple images, you have to really pay attention to you again. Light the light conditions. So if your original photograph is this, then you have to make sure that you match colors and the light conditions have on your new elements that you introduce the first thing I've done. He was to remove that tower in the background. Then I brought in this tower. But the way I brought this in is that I actually added to adjustment layers to it. So I have curves Teoh at the color adjustment and then I have levels to also at just the exposure. So without that, immediately, you can tell like it's really doesn't belong that Yeah, yeah, just by doing these adjustments already look better. And then the other one being the background, I further adjusted. And again, this is something we talked last month about that The further of a something is the less contrast it will have, and also the more it will resemble the color off the sky. So the volumetric fog or volumetric light is what you need. Teoh. Make sure that you apply so Yeah, We'll get closer to what you see, maybe in the mountain. But because the mountain is even further V, you shouldn't make it as faint as that. You need to like fillets. Yes, exactly. You go. You go gradually as you go further in distance. 21. Day 18- Analogous Colours (Theory) #169/365: - the analog colors. Yes. So the tutorial itself explains the analog color. Palettes are color palettes that include colors that next to each other on the color wheel eyes doesn't have to be three. It could be more than that. This is just what the example that I found shows on it. It shows you how you can use the re Colorado work feature to select or, like, produce an animal color palette and then applying that to your design. So today, I just thought I'd quickly show you guys the these color palettes. Sometimes people might consider them, like, a little bit too maybe, uh, dull. But actually, you know, in the past, I've been talking designers and they're like, Oh, no, you know, you need more contrast in that, but I think it's a really good point to make that sometimes when you are working with illustrations, they're gonna be the secondary element to your design to, especially in the editorial poster design, like they might not be the piece that stands out the most Teoh viewer. You again. Your hierarchy might require that you your text element needs to be more bold, Andi. Then, if you're using a really high contrast color palette or complex color palette. It's gonna be harder for you to bring The view is attention to the to the text. So, like this one on, then I think in particular this example as well, and in this example, they use color palettes is still interesting. But if it was placed against, like a nice piece of bold typography, the typography would still have a chance standing out. If you know, I mean, but also similar to that of these. These both use analog color palettes, and actually, I think they're really vibrant. This one takes it a step further that these are actually all next to each other on the color wheel. Yet don't write it off like I really like these kind of color palettes. And I think this is challenging to work with colors that are quite similar. And it starts to help you understand how to really make the use of color and shadow and death very nicely, explained that example. Yeah, great examples. Um, yes. So what? So that's definitely worth exploring. And it's good to know that if you if you start of administration and use certain set of colors. You can actually use the re color artwork in Illustrator and picked us to analog color themes there so you can pick whichever you think suits more thing. One of them is a little bit more like closer to each other, and the other one is ever but move I there? Yeah, exactly. So, yeah, it's it's, ah quickly to, like, try it out whether it works with your illustration or not. 22. Day 19 - Gridify (Id) #170/365: - greed if I it's a little bit similar to the step and repeat we talked about already today. So gratifying is a technique that you can use when you place in multiple elements into in design, like multiple images which happened here. So when you have multiple images selected from, that's a bridge and you copy and paste them in here into in design, you can quickly place them down as independent frames. So the way this works and just deleted that, and then let's say we go into stock images folder on has just select a few images. So I was select the's if I dragged them into in design, we'll see that we have four images selected, and then I can use the right, left and right arrows to Tokyo through them. But once I click and start dragging now, if I use left and right arrows, I can increase or decrease the amount of frames I'm generating. Up and down arrows would increase the amount of rose if I have more images and the commander control left and right at all, I can use to increase the space gotta between them or reduce that. And when I'm happy can just let go on. They will be filled in. And if your photographs are different in the aspect ratio, you can make sure that they will fit exactly the same frame size by clicking on the field frame proportionally here on the top. Many handy I love I love pilfering proportionately, like when you're dropping images in like this, especially if you have, like six or seven away. When I first started using in zone, I dragged him on in separately on and then try and use my snap guides to, like, get it right, but and it was really time consuming. So something that's taking you about, I don't know half a minute would take me like 15 eso since discover and gratifies, you know, it's really changed the way how quickly I can work with play outside 23. Day 20 - Concentric Prism (Ps) #171/365: - concentrate prism like I couldn't really name this affect better. So it is another style that I'm noticed, like showing up in different compositions, where you have again geometric shapes and then distorting images with those shapes. So all I've done in this composition on guy showed this in. That one minute tutorial is that I used multiple shapes, and for each of these shapes, I use the clipping mosque within which I created the rotation. So, for example, here, if I rotate it around, you can see how just that shape will change. So it builds up from the original photograph from by von adding these shapes in. So if I just remove all of them, we can see the 1st 1 that I added. That's the shape. And as the image rotated, then another shape on top of that and then another rotation, and it just keeps rotating like that. That's cool, because then you can edit the separate layers. So if you wanted it to look a bit more abstract and have some of it upside down, some of the baby round exactly what it on, it's It's good you are seeing the upside down because there's actually a V ball. I mean, I have a few examples where you can see exactly that's what they did. So instead of using a complex effect like this one is literally just a circle selection and flip it upside down. That's it. The same thing here we have, like again, just a shape where we have ah reflected vertically reflected version off the forest. And then we have the ring again. Just simply flipped upside down nice and makes such like they make really great conversation. They really stand out, like, especially with the contrast like the wellings in the line. Yeah, definitely. So, yeah, that's just another cool technique to experiment with. And once again, like you said, having something like this, if it has a subtle color theme, you could have a strong, bold type on top off this, and it could work as a nice poster cover. Whatever 24. Day 21 - Perspective Drawing (Ai) #172/365: - perspective doing is the Max one perspective Drawing is something you can do in Illustrator eso. If we go into illustrator and open up this file, we have the perspective drawing over the enabled. But this is something you find here on the left side. So you just have to turn on the perspective. Great tool. And then the way this works is that whatever you do whenever this is active will automatically draw the shapes that you are using in perspective. So here on the left, we have, like a little indicator of which plane is currently selected. You just use the short that's 12 and three to switch between these or four to the select them. So if I used the rectum Goto when nothing is selected, I can still draw without being affected by the perspective. But then if I press three, I will be able to start drawing on this side by press two. I will be able to draw on the ground and I can go all the way back or I can leave him going draw on this side. You can see how immediately will have the same perspective applied. If I do here in the front, it will be again a completely different distortion on both sides in the fi press, one that will be the left side. So then again, we are drawing in that angle. And one last thing that I like to mention is that, for example, if we have this one here and we want to move it further, instead of using the selection toe, make sure that you use the perspective selection toe. So a shift V instead of just simply V. With this one, you can move the shape and keep its dealing perspective. So that's almost like working with a three D object remain. And what I've done here, I'm just going to delete this quickly was to select this ellipse that was already in perspective. So he was drawn in perspective. And then when I saw that bat using the perspective, move toe and if I hold on, actually make a copy of this first. If I hold down number five on the keyboard and start clicking dragging, I can move it parallel to its original plane. So it's like extracting did almost like extruding the shape from the plane, and then it will elevate it but still keep it in the same plane. Nice. So that's that's how it works. And perspective is one of those things that is a huge topic. And if you want to be good at drawing, this is something you need to study. And it is actually a fairly simple concept, depending on what type of perspective you want, like one vanishing point with result in images like this, where every line were leading to one single point. If you have two point perspective, you have to vanishing points. Then you will have lines receiving into both of those points on Ben. If you have three point perspective, it starts to get more complex. That's when you have, like and more. You start to have the vertical lines also vanishing, not just the horizontal lines. So this is great for emphasizing height, whether you're looking at things from below or above. This is, by the way, like a nice three point perspective against showing their height that we are above the building or here again we have a lower point of view, and you can see like an architectural drawing off. Something would really rely on the perspective and Lybia both off the towers will have to be using that perspective to make it look good and realistic. But even like simple products, I've done a product study product design of the university. So we used to do a lot of these where you even like a simple thing like iron you. If you want to make a look good, you need to first constructed and imagine. And this is a three the object, and you can see already the perspective lines here as well. And it even has the shape lines we call them. Sometimes that they finds the form without this line here, you wouldn't see that there is curved there, but that really explains it. Well, how how it works on. I just wanted to show an extreme this. This one is of one point perspective. But again, everything leads to one point. While this one. How many points do you think this has? How many vanishing points do you think there are here? Thesis five point perspective. Yeah, so the fish eye lens would produce a five point perspective, and to draw something like that, it's extremely difficult looks. There's no straight lines here because everything is curved. Yeah, it's like a really advanced container. So, yeah, that's perspective. And it's it's something a huge topic. We might explore it A but more in later in this in this series. But for now, that's all I wanted to show. 25. Day 22 - Composition with Triangles (Ps) #173/365: - here I rely on triangles on again. It's a combination off clipping mosque, using shapes with images and then also adjustment. The years law things goes into a composition like this, even if it's a simple one. But instead of like talking more about my example, I wanted to just come back to a few that I found Onda. Let's just have a look at some of these. So again, either you are using them as holding devices for images or more. Well, this is still has an image in it. But this is slightly more abstract version or something that doesn't have any image. Apart from the smoke, just the shapes, it can still create a very interesting example composition. Did you want to say something on this one? I was just going to say that this one starting to introduce different like measurements of triangles, if you know I mean so, like some of some of them equal portion. And then some of them have, like, distorted proportions. So you get a little bit. Yeah, and I think it starts to Fillmore kind of anxious, like angsty, which I think is the point in the competition. So I think isn't that important to remember that, like even changing the angle of your container or the shape you're using can set a different tone for the image. So where is your example before? Feels? It feels like natural, relaxed, calm. Yeah, easy to look at. Where is the next one feels quite like in your face. Aggressive, Aggressive. Exactly. And I think yet you like you say, using something as a holding device, I try and go. That can really impact again. And that's a very good point where you're saying that there's there's a thing called shape Language, like every shape, has already an inherent quality. I try and go generally is a very like like straightforward shop, Onda and aggressive shape compared to, for example, something like a circle, which is a very balance round, a peaceful shape. While what would you say rectangle or like a square would be? What about quality? Would you think of when you see a square probably harsher than a circle, Yeah, but not as harsh as a triangle for me because you have more sharp edges. I think it doesn't seem that's friendly. Yeah, but over the back 10 will do it. Somebody in between the two. But But with what can I rectangle like a square resembled. I didn't. The rectangle was as bad I thought they were. It was quite in harmony. Yes, that's a good point. Why would normally say is rectangle is a very solid shape because it can stand on any of its sides. OK, it's a very stable, solid shape by trying with one of the reasons why it's can be aggressive looking because it's not. For example, when it's upside down, you can feel like it was going to tip off to one side or the other. Or if it's used like a weapon, you can come up with it because it's such a sharp corner. So that's a good point, actually, yeah, rectangle on his own has around. It's solid shape. So yeah, every every shape has qualities that we subconsciously no, but we might not think about it. But if you use it as a graphic designer in our compositions, they can really exaggerate or emphasize the quality that we want to show you and create a good tone of voice. That specific topic so and then you can you need to be careful that, like, if you were gonna use a few really aggressive looking triangle, was in like a nature composition that could really mess it up. So, yes, important to understand. So so there. Even though it's trying, goes, it's toned down with the colors. Yeah, like it's a very muted color palette, which which helps to keep it calm. Yeah, and the triangles are very nicely structured. Yeah, it's not erratic. And it's like, in place. Yeah, I was just gonna I agree, because I think because they are all joined together, it almost makes a shape in itself for May and Red, like so the triangles is made up of triangles, but it's actually kind of a shape in its own right, So it doesn't. But you say feel is dramatic. Yeah, yeah, cool. So, yeah, there's there's a lot to just simply using triangles and shapes, so it's definitely worth exploring 26. Day 22 EXTRA: But why I'm going to show you here is to use the polygon tool set it decide, set to three and making sure that you don't have the star options and on the order of the smooth corners, will make sure that you create perfect triangles. So if I create a triangle, say something like that and change the order of my New Year's and move the layer above the triangle. Find now. Hold on the old corruption key and click between the two years I can create the clipping mosque, so at the bottom you have the shape about it. You have the photo, and then you create the clipping mosque like that. Now the cool thing is that if I use the Black Carol having the shapely are selected and I select the Black Arrow selection tool, I can old click and drag to duplicate the triangle shape and notice that this is going to still be within the same factor. Shape layer so I can move this other shape around, and you can see how it's going to reveal more off the image. So if I old click again, I can have 1/3 triangle there and I mean, even this. If I put the right earlier behind it is already quite cool composition and we can go back to the shape layer and then select these. You can use the mouse or you can use the arrow keys as well. Too much things around until you move them in the right place. But then, of course, if I select one of the triangles, I can old click and drag and then use the free transform bullfight. I have a shape selective, and I can move it into again a different position so I can have maybe a shape here at the bottom and then duplicate that and I can move it on to the top and maybe heaven of the shape dad and so on, so forth. So if you have all of these shapes on the same layer, then that layer will always be showing the same exact thing. Of course, you can have these shapes as well, further away from each other, so you can have distances between them as well, and they don't need to be aligned to the center. So this this could work, of course, completely separated as well. While you have them. Even though you have members on the same layer you can steal, select them individually and move them around. What if you then want to have different colors on each of these triangles than the following thing you need? You will need to do psych one of these triangles, like this one I selected here in the middle, and I click away somewhere, and then I will create a new layer. By choosing, I think we need to create a new vector shape first, actually, to be honest, the easiest ways to duplicate the Holy Year or click and drag duplicates the Holy Year. And then you just keep one shape, the one that you need. You select and delete the other ones and then using the image layer, duplicate that, or click and drag to have a duplicate. Both click again between two years, so that is also going to be clipped onto that. Try and go. But then you also use an adjustment. Lee, you're here. In this case, let's just used ingredient map. I really like one of my favorite adjustment the years from the Grady Int Options. Sorry, not really in the adjustment layers options, which used the Grady Int map. And then let's change this to one of these D fourth colors. One. But you have to make sure you apply this own to that clipping group. So old click again to make sure you can find the effect onto that try and go that we created. So having the triangle turn off now we can have that colorized version enabled or hidden weight. And, of course, if I have the great mm selected that can come back and make changes to the colors off the radiant. So in this case, this purple is probably not going to work quite well. So I would change that dark color to something else, something that stands out more maybe for the dark color we can use something like a dark blue. And then, for the bright color, we can use something like a bright yellow or even like a bright blue, just to have, like a very strong contrast between the red details around and then the triangle itself. Now, another cool thing is that you can also adjust the distance or the transition between these color stops. So if I want to have a little bit more brighter detail or brighter and result. I can drag that little meat point between the two color Softwares, the left, which will brighten up the details where I can drag it to the right side. It's again if I drag it to the right, and it will make it darker because that basically gives more spread for the darker details . So just by simply drinking that little point, they're a bit to the left. I can make it brighter, and it really shows the details that we needed. So that is exactly what I wanted here, if I want. That can also reduce the A pass ity off the side effect by dragging the world capacity left right. It's called the scrubby slider, and you click on a word left or right, as we can see without it and with I actually quite like it. But we can also try out a dark background with this composition that might look actually more interesting. So the quick way off feeling in a layer with black or white. You can use old backspace or command backspace, so both backspace to feeling with your foreground color option backspace on Mac and Commander control Backspace feels in your background color. So of course, we can pick a color from the image as well and feeling in with that now. Even that could be interesting, because even though we have red colors in the image, we can always adjust. Using the hue saturation may be reduced the situation or increase the saturation and just reduce the brightness so have, like a red on red can be interesting. Or we can change the hue around, and we can pick like a bright blue, are almost like a greenish blue, like a mint color. Looks quite nice with this composition as just go up with the brightness, go down with the saturation. Something like that, I think, works really well. So now if we were to have, like, a color palette for this, I would have the blue color that we picked. Then we have. We have here the rants, so that's just sample that red. And then we have the background color, obviously that color there. So that's a color theme, and I think that's a quite nice one. Victory. Saying you like the blue against the read This again is very did it really depends what we want to do. Thesis, as I said, can be again. Why or what I sometimes do is find like a background color. Keep it like that. But I would have another layer created either a normal layer or a solid color layer, which you can pick from your adjustments the years so lead color and then said that two white. So we have a fight version and then I would have another solid color layer and that maybe we can send two black. And then we can have many off these layers here at the bottom, which we can play around with if I have a solid color layer and I picked this color. That's also better than just having a single layer, because having the solid color layers makes it much faster and easier to change their colors. So if I just turn off the properties for a second, you can see if I turn off my black layer. I can just go back and double click on that color, and I can very quickly just make it brighter if I want. I have a bit more saturation on it. I can go also more towards the blues or more towards the greens, and I can really refine the way I want it to be. I think a little bit more saturation and brightness was quite nice in this case. So at this point, I can continue moving these shapes around so I can select this shape and I can move it around. I can also have the same shape, almost like visible twice, and just have, like, a subtle adjustment like that, for I can keep this one here and just delete it from the other layer. That way, if I move this shape around, then we won't have anything behind it. So you can't really decide what you want to do and how you want to do your composition. Like if I want that triangle on the top, I can cut it out and put it into the other shapes of command X to cut command V to place. So cut in there again, this other one I will select, caught and then put it into the other shape or other shape layer, and then I can again move it around on. Already, we start to have an interesting composition created here but off course. You can always resize these shapes as well. You can turn them around. You can make it not symmetrical. And you can also create triangles just on their own so they don't necessarily need to show details. S O. For example, if I just create another shape layer using the shape tools, I'm going to click on another layer. Maybe one of these image layers and I just draw a triangle so that will be just a normal shape on its own. I will put it on top of everything else, and I don't need to be clipped onto anything. I can turn this into maybe of light, try and go. I can make it smaller, and then that can also be interesting. Or you can also decide to have no feel on this and just have maybe a stroke on it so I can pick a color that will work on the stroke. I'm going to pick. Why? Just to make sure you can see it, and I can reduce the size of the stroke again. Look at how quickly I can change the size by just click and dreading on the word stroke like an increase. Decrease their size off the stroke to what I need. You go have hung on the eyes, maybe with a little more subtle stroke size. And then we can have another one off this game. Just duplicate. Place it down somewhere around here. I'm just trying to create a little bit off a symmetry in the composition and trying to search for the best places in the making of it. Smaller again. Yeah. I mean, something like that. Older the starts to come together and create an interesting the fact. Another cool thing you can do is that at sea we have another off these triangles and we want to have it in the background. We want to have it also a bit thicker than the other ones. I will put it all the way to the bottom. So here, all right, so we can move it behind these other triangles. Something like that can also have. It may be pointing sideways because all the other ones are pointing upward down. Can have one here in the background that's pointing sideways, although I'm actually happier when it's pointing down. I think it looks specter, but one thing you can do, which is really a nice feature, is that you can have a vector shapes Lear selected and you can feather it out, and feathering it out is basically like blurring it. So, I assure you in the properties panel, when you have a vector shapes Lear selected, you can use the father option to blow it out, so you don't need to turn it into a factor. Smart object. For this to work, you just simply use the father, and that's basically like a blur on a vector shape layer. So the cool thing about this is that I can still set like those anchor points or the shape itself. I can resize it, move it around, and it's completely nondestructive method so I can decide how blood I wanted to be advising . Interesting to blurry, because blurring it makes it look like it has a depth of field. So there's some kind off that thing here, and if I have another one of this, I can put it up here. Maybe again. Turn it around. Okay, so having another one up there find me that maybe a little bit smaller or bigger even doesn't really matter. Let's just make it bigger. I can make that even more blood now and then. You now start to have a really cool death in the composition. And maybe we can do one more big one. But put that over the way on the top, and then this one can be somewhere around here, but smaller on may be reducing the feather on it. Something around there. Okay, so I mean, you can really experiment with the effect, but you can tell already how more interesting things are getting just by doing a couple of these triangles. Let's just put this somewhere here. I wanted to feel random is what's not to compose, but it's a nice, futuristic look. And to add more darks into it, we could even create another layer very quickly, using again the shape towards a lip stool and then just simply draw a shape here at the bottom like that. And once again, if you go into the property's off this shape, you will be able to switch between the properties off the actual shape or the shape mosque properties, where you will find a feather option and to create, like a little drop shadow. I can create this ellipse, aligning to the bottom of the big triangle there and you can see that it's actually starting to look like the shadow. Let me just stretch it a little bit around, maybe reduce the feather on it. And I mean, that already gives it sort of like death almost feels like a floating object on top, off a plane or something at the bottom. And, yeah, so the core thing here is that we only used shapes. Rector shape players Andi really combined that with the image a bit off adjustment. Lee years on the shape. Solid color early years. But we haven't even used blending at all. We haven't used masking the only masking we did waas using clipping mosques. So that's all, too, just to simply confined the image into certain triangles. And once again we have to separate layers, one with the blue triangles using the Grady and map on them, and we have the other set of triangles for the original red tones and colors off the image . So I mean, the best thing about this is this is a completely non destructive workflow, so anything can be changed at any time. I can cite any off these triangles and move them around. By the way, if you are finding it hard to select the right lier, just command click command. Click is the auto select option. So I can very quickly select always the right shapes to work with me that I don't need to keep searching on the layers panel. Just use the move, tool and command click that will go to select the layers that you need. 27. Day 23 - Warp Typography (Ai) #174/365: - war typography. So do we have some examples just we we do, Yes, I want the territory. On the time lapse, you can see how we used theme warp tool to create these saw typography, which is a bit 70 styles inspired by It's coming back together and, as we mentioned earlier, one. It's all about having a good container on. These examples are great because it has a really good shape around it, and I think a crazy really called composition. So I love these 11 lemony shapes on the typography. Squeeze it, squeeze it the way they've distorted it to fit the shape with lemon. Yeah, it has a really good flow. Yeah, so? So I think I think again, it's like with everything with type. In general, it's a very fine line between getting it right and getting in really wrong. So you have to be very careful when you are distorting funds in general because we, especially I think designers are very sensitive off seeing, like even a subtle proportion will change toe letter form. So when it's done to an extreme like this, it's it's fine as long as it has a nice aesthetic. But it can. It can very easily go wrong as well. So you have to be very careful. Like for me. The idea in the squeeze is good, but doesn't read well, but it doesn't read well. And if yes, it's not nicely done, I think it's a bit too forced. That is a good It's a good idea. But against another example. How you The idea sounds great, but doing that may not necessarily work. Yeah, Yeah, I think it relies a lot on the shape of the lemon as well. Where is like a container? It should suggest, but your composition to kind of work without it. So yes. Here. The certain you don't need a circle for it to be in a container. Where is with the squeeze? If you took away the lemon, it would just be very unusual and leave these circles don't actually have a suck. Yeah, I just feel like it's more legible. Yeah, yeah, yeah, but I think I think another problem. Yeah, as you said, Ledge abilities a problem. The first letter, probably is that it looks more like an l care is also falling apart and I'm not even sure is this Harvey Spell squeeze s Q u E c. Yeah. OK, well, sometimes I spelling quite off, sir. But, like, even ifit's about right, it reads really bad. Yeah, This technique, you have to apply carefully and make sure you're using away that reads well yet definitely cool. 28. Day 24 - Photo to 3D (Ps) #175/365: - the photograph turned into a three D. Seen on the example I used here was this tunnel on the technique that I used and this is already the three D object so we can start turning around. You said it's like a computer game. Yeah s Oh, yeah. This was originally a simple photograph, and the technique that I used here was simply to go into the filter Vanishing point option , which can add, or you can manually assign these planes on your composition on. Then the key is to return it into Photoshopped as a three D object. You just simply have to use the return three d layer to for the shop option. And then it becomes exactly what you see here, a three d layer, and we can even zoom in and out into this so we can literally, like, move around. And if you have a high resolution image to start with, you can actually walk into the photograph, which is which is really cool. I've actually done in the past animation because don't forget, like again. We talked about this today. If you are using the timeline panel and you're doing a video timeline that is actually something that you can animate. So the three d movement that I'm just doing here, for example, the three D camera position can be animated. So if I set a key frame for that and then move further in time and then zoom in, let's say, if I now move back, you can see it's already an animation and I press space. It's not going to render it a real time, but if we render this out, yeah, it will already be a three d animation. That's really cool. Does this work with panoramic images, or is it? You can use a panoramic image, but there you would have more like a fish eye lends type of the facts. So it's It's hard to set that as a vanishing point. It works better with single vanishing point images like this one originally started off as a one point perspective. Old Max two point perspective. Okay, A panoramic images is more like a Fisher like five point perspective, but you can try it. It could work, but there's and there's another one coming soon, which works much better fitted with the panoramic images, another's technique. I would talk about 29. Day 25 - Transitional Colour Palette (Ai) #176/365: - transitional color palette. This is actually you would normally talk about color palettes, but it is something that I've done. The technique really is all about using the blend tool. So if you have two colors and you want to get the colors in between those two colors, so treat like a transitional set off colors, you can use the blend tool for that so I can just show this very quickly. And illustrator, if we have a shape created just that's just simplified by drawing down perspective. So if I draw a shape here and set it Teoh red, let's say that I duplicated and I sat the color. There may be two orange. Let's just make me getting to purple something like that. Now if I use the blend tool, which is here in the toolbar where he's but that's the bad, W I think is the shortcut. If I click on the 1st 1 and then the next one first, it creates a smooth, smooth transition. But then, if I double click on the blend tool, I can assign a different spacing like specified steps. And if I reduce that down to, let's say four already, we have the transition. And to turn these into swatches were you have to do is to go to object, expand which were turned them into separate shapes and then using the swatches panel. So if we go there and then dragging this whole thing into the swatches or you can even say new color group from the drop down, it was saved by the four. The selected artwork as swatches. So there you go. We created a color Teoh technique, especially when you were saying earlier on You wanna use colors in harmony, Going to see a really good way? Yeah. Actually, we have two favorite colors and you don't know to use because it might be a good idea. Yeah, definitely. 30. Day 26 - Linked Smart Object (Ps) #177: - being smart object. We have editorial in photo shop that he's a key technique that I use a lot of when, especially, I know that I need to use the same asset in multiple documents once again. Since the creative Kyle libraries, you can rely on a library asset to make sure that you have consistency throughout multiple documents. So if you keep on using the same CC library asset, it will make sure he will show up the same way. But if you want to have an external fire connected to a photo shop document and use that in multiple files, then you can use a link. Smart objects. So in this case, for example, they have these three photos show compositions showing the same poster, and that poster is actually this Photoshopped file. So if I have these three documents opening for the show, I am just going to open the original poster as well and video that if I change to another image or maybe turn on on adjustment layer. Actually, let's just keep changing the image itself. Once I save it, it will automatically update in the other photo shop documents without me doing anything because they are all linked. Smart objects. Really? Yes, it's definitely worth using. Links, objects, some objects. Yeah, it's it's the file. Place linked is the way you do it. That way it becomes connected to the source file. And whenever the source file changes, it will update in your other documents. On the little chain on the smart object shows that it's a link smart object. 31. Day 27 - Viking Character Art (ProCreate) #178: - an illustration off Viking. It actually started off as a Viking. That ended up being more like it both because off the caricature aspect of the whole illustration So, um, the actual time 6.5 hours was quite long. Todo yeah, you go. So, um, I started off doing I knew already the composition, but you can see along the way I started changing quite a lot off the details and colors and proportions. So I experimented with a lot of different things and themes in the illustration until I ended up with the final color composition and in general details. But what what is the most important thing to mention here is that whenever you doing illustration especially character based illustration, it's all about exaggeration. You really want to exaggerate details like the big arms, the the expression in this case, like the eyes popping out of the head like really angry, showing the anger on. Then if you want to keep it funny, it's always good to have something on the side, like in this case, the bird showing again, like the confusion. So yeah, it z just a fun demonstration that I had an idea And then I thought I okay, let's just finish them and go through it. But usually what I do is how it all started. So coming back, Teoh for the shop or bridge. Actually, I had it opening. The original drawing took me, like, five minutes to do. I just had the idea and then, uh, sometimes just do that to capture the idea. And then I revisited maybe weeks later. And then I refined the antenna. You don't be done. Also need to point out that you don't do it in one go. Yes, exactly six hours straight. No, you have to think exactly. So I would come back and do it in. So if you don't have time to George's, do like an hour days and then come back to me with the fresh, I would have new ideas as well 32. Day 28 - Drawing Roads (Ai) #179/365: - way had the drawing roads. This I wouldn't even really consider going into too much detail because we already have. A similar tutorial in this month about using graphic styles is the same exact thing. So I used and complex appearance are fairly complex appearance of using three different strokes on top of each other so we can see how it it builds up. And then if I say this is a graphic style, that means I can draw with this. And I can even use the pencil to continue doing these shapes, so it just makes it very easy to do maps, for example. 33. Day 29 - Whirlpool Effect (Ps) #180/365: - well pull effect. That was one off my probably my favorite final results that I got this month. And this is my panoramic photo that I wanted to mention. That was the region when I started with. And then the technique really, really relies on this filter, which normally I wouldn't use for anything else but for this specific thing. It's it's brilliant, scored polar coordinates and what it does. It wraps the the image into itself. So the two edges will end up being connected into this circular shape. And what I've done here is to just merge. The two edges are using the mixer brush, which I think you talked about it in the last month. A session using the mixer brush. I just paint paint over them, blending them together so I can just show that very quickly here. So this is this is the mixer brush. If I increase the size, you can see a little bit better using a Pam tablet and pressure sensitive sensitivity. It can work even better. But yeah, that's generally how I connected the two sides looks really good. So yeah, that's the the royal pool effect. I called it and this was actually, uh, created for one off the splash screens or for the shop recently. Yet in 2017 I think since 2017 again, this is several pictures. But again, using polar co ordinates school repping into itself is a nice one. And then there sees a couple of other examples almost creating a little planet. When you have a 360 panorama, you can even achieve results. Means it's really nice that one is really cool as well. Yeah. 34. Day 29 EXTRA: So it's a nice panoramic image I took here not far from where we live. This is in near bore meth. It's actually this place six court or where the photo was taken. It's called the Jurassic Coast, because there's lots of fossils. Dinosaur for souls. Andi, they still keep finding in this area. Um, so that's quite a nice thing, but yeah, it looks really nice this big white cliffs similar to the cliffs at Dover, which are famous. But these I was so quite famous, and it's a nice little composition, but main reason I chose this is because it's a panoramic image on file into open this up into photo shop. I can just click on the option here, safe to, and I can save it as an image into my computer Now. We can also added these directly for the show, so if I choose to add it in photo shop, it will open up straight in the photo shoot. We can make our changes, and then it will feed it back into the changes into light room. But because I want to keep their original panorama as well, I'm going to choose. Make a copy first of all, now we have to aversions to work with and then one of these versions. Now we can add it in for the shop. So having it selected, I arrive click on the image and I choose at it in for the shirt. Um, can continue. It just explains that is going to allow you to make a credit team photo show and then make sure you save that fire. Close it, and it will come back into light room with the updates. So let's click. OK, continue. And this is a good example of why would you ever take photo out of light room and continue working on it on it in for the shop? Because for the show can do off more advanced manipulations that you won't be able to do in light and lighter means mainly for cataloguing and doing the basic at. It's like the camera roll refinements of images you can still who subtle retouching like just removing blemishes and things like that. But more advance train, their changes and modifications. You can't do that, so let me show you the technique here again. This is something that I showed in the dominant version A couple of days ago, this came up on. I think it was the first. The last day off June by this tutorial came up on, but it actually goes through the techniques anyway. But I'm going to show you a little bit in more detail. So once we have our image open, the first thing that we will need to do is to go to the I think the most important thing here waas to extend our cameras. But I'm just sure you'll be down doing anything. So that's that's in just just simply opened up this image and I am going to go to the field Germany. And in the future, it will find on the distort polar coordinates. So if I select that, I was exactly what's going to happen here. So if I choose rectangular two polar and click OK by the fourth, this is what we will get. So why is that not working? While the reason why it's not working is because we need to make sure that the image I mean in our case, this campus is not as wide as this. So I What I would normally do is to, um first of all, unlocked in the year. That's what I just did, taking on the little lock icon in the layers panel. And, um, I am going to use the free transform tool and bring it closer in. So first, let's just being get closer in like that. By the way, this is shortcut. If you hold on the older option key, you can reduce the distance from both sides at the same time, meaning that you keep the center point where it wants. Before I continue, Jodi was asking a question. So do I use light room CC only for the cloud option or other reasons? So yes. So there's two different versions of light From Light comes easy and light from classic CC . I use the cloud version for my own photography that mainly I take with my iPhone. I used to carry around my dear some camera. It's in the back there, but I just find it much easier to use an iPhone, especially the new iPhone X has just has such a good image quality that I don't really see a point in carrying around DSLR or even a combat camera. So because it's all on mobile and because life room is just right there So normally what I do is you can see if I show it here in the camera there is my life room app. And once I open it up, all the recent photos are there, and I can edit them directly on light from like this picture I took today and you can see if I keep holding on a bit. It will show you how it was before when I like how it's after. So all the edits that you have in lightning you can do directly on your phone, especially because this this iPhone X and X, many of the new mobile phones or smart phones now take roll photography. So these shoots in the N G. The Andal Adobe Digital negative, which is the best form that you can get on, gets a higher bit depth image as well, meaning you can recover a lot of details from the shadows and highlights that normally with that J. Paige would be lost. So a really actually has pretty much all the advantages off a bigger camera, and I just find it very convenient to work that waits or anything that I take for my own. I just a normal day to day being out in the battle, taking pictures with my hopey photography. I use it for that. And the light from Sisi is great for that. If I do photography for a job, so if that if I'm hired is a photographer on an event or to shoot on any other occasions, I would actually use the item CC or right through classic CC for that because then I can cattle of the images and I would normally have a lot or photos like, say, an event. I would take 1000 rule files and that would very quickly fill up the allowance I have on the cloud because you only get 100 gigabytes on the how 100 gigabytes for your photos on. But if you are just using it on your mobile, that will last for quite a long time. While if you do professional photography, you can feel that up in a day. If you are doing like a wedding, for example, it people very quickly you would outgrew that allowance in the final size, so please let me know if you have any more questions about that. But yet, so I'm using both light room CC for my hopey photography and light room classics. Easy for my professional for photographs. Okay, so if I reduce the fifth off this image and then I go back again into the filter and choose polar coordinates because we use the same feature before it remembers are lost used filter . So once I select that, we will see what happens again. Now you see, it's not enough to distort the image and stretch it and bring it further in. But you also need to crop the canvas. So I need to go into the image menu and choose cream, which would get rid of all the transparent bits. So if I use image trim that on by default, when I click, OK reduces the campus as well. Now, if we use the filter again, you will see what's different. So it's starting to look more like a like a perfect circle. But what I notice and this is important as well is that if I go back, I realize that if I keep those details on the right, like these details here that I won't get a nice, continuous pool of well, pool effects of the water is going, Teoh. No, go back into itself. So what? I need to keep in mind if I want to make sure that happens is to actually crop details out . So by using the crop tool, I can come along the way here to this side and then also maybe crop a little bit from the left side. So left side, Come here. Right side. Come around there. Now, if we use the filter on this, we should get a batter one. But we need to make sure when we're cropping, we need to delete the crop pixels. And that's something with the crop tool you need to turn on here on the top to make sure you delete cropped pixels except the transformation. This is how it looks now. Now, if I choose Polar court and that's it does almost perfectly what I wanted it to do. So it's very important how you crop your image. You have to keep experimenting sometimes going back and forth until you get it right. And of course, this is still not the final crop that I would use because once you created this like stretched image, which stretches into itself, I would crop it again. I would crop from all angles by holding down the chute shift and option key together. So option shift, old shift pressed and held them together. And then you can crop even closer in, and I won't keep that sent the point there in the middle. When I press enter now we have a quiet, nice composition here. Now you can decide not to show details like the Cross and also details like thes branches here on the left side, because you can always create an additional layer, which I would normally call evidence. And they're using the spot healing brush To said that said that to sample all layers, you can very quickly paint over these details here to remove them, so that's just removed. This one. First, make sure it's completely gone. Then I can remove that detail and so on and so forth so you can see the five pains over all of these details. Here. We can very quickly take them out, so if there's any remaining details, you just bring them or you just use a bigger brush size. Sometimes that just be speeds things up. I can remove that. Then let's just remove this whole year. So tiding up your image can, of course, do this beforehand as well. But I wouldn't waste time on doing it beforehand, because you will never know what will end up in your final composition. You might end up working a lot and refining a detail, and then, in the end, you realize it's not even going to be making your final comp. So I always like to do this at this point, but you can see I would be able to refine, and we touch all of the details. What's more important is the detail that the two sides meet. So if I want to make sure that it looks like it's a continuous the detail here, I need to make sure I paint over it with the sport healing brush tool until I can get that dress looking like it's nicely closing and finishing here. So then the water can be a continuous detail. I'm just going to very quickly get rid off this one as well. It was just getting in the way, and maybe also this whole section here is darker branches not dreaming necessary. So a little bit off the grass there on the top right can stay. Or, of course, I can also decide to remove that and just fill it up with water. But for now, let's just keep it there on what's most important. And that's pretty. Much of the last step is to use the mixer brush tool. Now the mixer brush is joined together with the brush tool. I have it set to a separate shortcut. The shortcut is N because B is the brush toe mixer brush set, and you can customize your shirt gets from the edit keyboard Shortcuts option. Just make sure you select tools from here, and they will find all the tools, including the mixed up Russia's Well, and you can customize any off these two shortcuts. So having the mixer brush selective, I make sure that this also has the sample. All the years turned on lets you be turned on. And then I normally use the very wet option as the default setting. I mean, that's that's why most of the time use with this tool, and I also make sure that this option is turned off the load the brush after each stroke that should be turned off. Now, if I make my breast smaller, I can start painting over this. But this is when the mouse is not the best tool to work with. This is Van is good to have a tablet like Amusing the intercourse tablet. I pick up my little trustee stylists and then I'm going to start drawing with this just room closer and we go on. The big advantage here is I can be much more subtle, and I can also draw much faster to create the transition transition by with the mouse, it would look like this, so it's much more clunky and slower to do it. So it would be It doesn't have that subtlety that I can achieve with my stylist. So with the stylist, we can reduce maybe the floor, just reducing the flow a bit. And then it's even more subtle, creating the transitions between details okay, and you can decide to use the spot healing Russia around the edges first. Before you start using the mixer brush, always worser, it's completely up to you which one you prefer, you can see. I can decide to bring a little bit more off that brighter detail over to the left side. So it doesn't seem so One directional, the effect so I can bring more off the white once this direction. And in general, I'm trying to follow those nice curved lines as well. So while I'm going around the edges, I'm trying to follow the curved angles. If I use a smaller brush, I can be much more defined in what I'm doing. So I can go back and forth, do small brush strokes and really define that intricate, uh, blend between two sides. So I want to make sure it looks as realistic as possible, And water is always a tricky one to get right. So you need a lot of these different color values for it to work. Now, if I If I under switch to the spot healing brush tool and paint over this edge, you see it is actually struggling to find out what I want to do here. So it's not that easy to get rid of this harsh edge after a violent might work, or alternatively, you can switch to the healing brush double. So if I'm using the healing brush tool that is going to be Schiff. Jay. I think it is. Uh, no. Where's evening brush? You go. So with the healing brush, I can click on detail like this one here on the left and paint over the details here on the right. And that can also help the establish, like a ground like starting point for how this is going to look like once it's done. And then I don't have to use that much mixer. Brush on these details because I already prepared the area with the healing brush old cooking the sample paint over and then switch to the healing brush and just do the final bits and bobs adjustments. So here again, just drink it up a bit. And it's That's it, like a general ruling for the shop and in all of these applications that you can achieve the best results whenever you start combining tools. So relying on one single tool is a lazy workflow, and it's not going to give you nice results, so you should always strive for combining the tools. Now here I just have Teoh already a bit more and then do the same thing that for that that on, but yes. So I think we are getting close. I mean, this is just the first very, like, rough way off blending the two sides together. But I could really refine this and get it to a nice detail that will look believable that it is a continuous design here. Okay, so of course, in the middle as well, we could switch back through The healing brush was about healing brush, and then just paint around was edges. To have it recover will heal itself. Even the center point I would paint over on then. Here it's now nice and soft. We could also remove these blue dots here in the water if you don't like them. But that's actually quite a nice detail. That anyway, yeah. So one other thing is that the water here should be equal. I mean, it should create a nice round shape that is actually going to work better if you originally straight and the horizon. So if you have a perfectly straight horizon on the water, then this would actually need into itself because we leave. We didn't do that. I can always decide to include more off the sky here on that way, this curve is going to go into turning to a perfect circle, so you can see at the moment it's not not going into itself, so that's just needs to be refined a little bit there. But, yeah, overall, everything that we updated is on a separately or so. It's completely no destructive. I can always turn it on and off, and if I'm happy with this, that's all we need to do. 35. Day 30 - Young/Old Portraits (ProCreate) #181/365: - another drawing tutorial showing the the way the differences when you're drawing people, especially growing young and other people. So I have a few interesting examples about this thing age progression and how to show this in drawing. So first of what it quite like strange compositions. But is the same Ricky same person, I think. Or maybe it is the same, like the mother and child. Maybe it's I think it is a family, Uh, but it could be the same person as well. The reason I selected this photo is just to show the changes in proportions off the face on . What you can immediately notice is that the I will completely change his position and size in relationship to the face as you get older. So when you're younger, the eyes are bigger compared to the actual head, and and also they are lower down. So your full had man, you are a child, a much cooler, so it takes half off the half of the head almost on all the action at actual features like eyes, nose and mouth are all at the bottom half off the face, and then as you get older, they get distributed more throughout the face off, like along the face. Um, and this is again a bit scary, but it's the assures it well, The same thing, like a newborn, would have, as you can see, the proportions very different to an adult. So the features are all getting stretched out, and then, as you get older, it again back. Interesting. So this is the way on Ben. The also see the same thing. I think again, it's a combination off the daughter and the mother, but we can see really well how, as you get older, there is also another very visible thing that appears on the face. Not just a wrinkles, but gravity. That's how you should think about it. So the longer you live, the longer gravity is affecting your body, and that was showing everything. Your skin will start. It's almost like everything is starting to be put down. You're your ears will get bigger. Your nose will get bigger on that. That's just generally what happens to be able to draw all the rage. As long as you understood understand these things, you will be able to capture it well, Onda, this guy, he has a patriot as well, worst checking out. He does really good explanations off these things. So from a young age how the face will change both for female and male characters. And also, I have here just a simple comparison off the full body and how it changes. And again we can see the head itself. How it changes from one year to an adult have. The proportions are changing, but it's funny that the actual size off the head doesn't change as much as the body. So you see, like the body increases probably 23 times, or maybe even Mawr, from from a one year old to an adult by the head. The size off the head doesn't change that much. Maybe increases 30% 40%. But that's why babies look cute because they have such a big Yeah, the proportions. I just really like huge had a small thing, but so, yeah, as long as you study these things, you will be able to get things right like age in your drawings. Amazing 36. Conclusion: congratulations for reaching the end of this year. Long course. It's a massive achievement and we hope you enjoyed it as much as we enjoyed creating it and have gained planting off useful new skills. Don't forget to do the creative assignments as they will not only help you to practise the techniques you learnt, but also to produce designs and illustrations to be proud off. If you found this course useful, please leave a review on it to help us produce more courses in the future. I hope to speak with you soon, and until then, have fun learning.